If the Moon Had a Mouth It Would Swallow All the Fishes
Florit / Florit•Jun 04, 2026 — Sep 11, 2026
Artist
Artwork Checklist
More Exhibitions at Florit / Florit
Guestbook
Press Release
Two winding serpents, a house-cloud, red rain falling like code. Across fields of white, circles appear as lights or moons, triangles as mountains or temples. Moving between pictogram and fable, Stephen Felton’s paintings seem to draw on the ritual imagery of ancient worlds.
Yet their point of departure lies elsewhere: in the mystery of Renaissance painting, where an image can open onto something beyond.
His scenes often unfold between sky and earth. Rain, water and serpents pass between them, linking what appears above with what waits below. The white surface becomes a field of brightness, while rays of colour concentrate light into something close to an apparition.
In Felton’s paintings, this sense of wonder is condensed into just a few signs, each holding more than it shows. Writing on his work, Andrew Berardini draws an analogy with a landscape seen from an airplane window: distant and flattened, almost unreal, yet still containing all the weight and detail of the world below —…
Exhibition Space
Links

If the Moon Had a Mouth It Would Swallow All the Fishes
Florit / Florit•Jun 04, 2026 — Sep 11, 2026
Press Release
Two winding serpents, a house-cloud, red rain falling like code. Across fields of white, circles appear as lights or moons, triangles as mountains or temples. Moving between pictogram and fable, Stephen Felton’s paintings seem to draw on the ritual imagery of ancient worlds.
Yet their point of departure lies elsewhere: in the mystery of Renaissance painting, where an image can open onto something beyond.
His scenes often unfold between sky and earth. Rain, water and serpents pass between them, linking what appears above with what waits below. The white surface becomes a field of brightness, while rays of colour concentrate light into something close to an apparition.
In Felton’s paintings, this sense of wonder is condensed into just a few signs, each holding more than it shows. Writing on his work, Andrew Berardini draws an analogy with a landscape seen from an airplane window: distant and flattened, almost unreal, yet still containing all the weight and detail of the world below —…

































