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Diana Copperwhite – Shadowlands

December 12, 2014
Diana Copperwhite, Green Portrait, 2014, oil on canvas. 30x25 cms

Diana Copperwhite, Green Portrait, 2014, oil on canvas. 30×25 cms

Shadowland is the title of the exhibition by Diana Copperwhite currently on show at 532 Gallery Thomas Jaeckel in New York.

Writing about her work Colm Toibin says:

Her work is about painting first and foremost; [these] references merely serve a purpose.  Thus digital images, which freeze and fragment an original image fascinate her, but such images in themselves are not enough, they provide a way into the painting.  It is their visuality, which inspires rather than any precise sense of a blurred or fragmented reality.  Because she physically likes making paintings, everything is subservient to what paint will achieve.”

Diana Copperwhite, Atomic, 2014, oil on canvas. 180x175 cms

Diana Copperwhite, Atomic, 2014, oil on canvas. 180×175 cms

Copperwhite makes paintings that move fluidly between representation and abstraction. Photographs, montage and assemblage all aid the process and become ancillary works that pin down fleeting thoughts, glimpses and reactions to a media saturated age.  Her interests and sources are eclectic and wide ranging, from social media to philosophical debate to art historical references.  Yet, as Toibin points out, her paintings are no more about the image than they are about the process of painting itself.  Her work is phenomenological in that momentarily emotional responses override the need to capture reality.  Something has piqued her interest and from that initial interest she thinks in colour, in tone, and texture, in setting herself a visual problem to which there is no single definitive solution.  Her palette is composed of murky undertones punctuated by bright neon rifts. The fluidity and expressiveness of the painting gives little hint of the rigorous and formal abstract principles applied to the making.

Diana Copperwhite, 3  paintings at 352 Gallery Thomas Jaeckel

Diana Copperwhite, 3 paintings at 352 Gallery Thomas Jaeckel

Amelia Stein and Mick O'Dea at the exhibition

Amelia Stein and Mick O’Dea at the exhibition

Diana Copperwhite, Sideways, 2014, oil on canvas, 44x44 cms

Diana Copperwhite, Sideways, 2014, oil on canvas, 44×44 cms

Posted by Robert Armstrong

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Darina Meagher – MFA Graduate, 2014

November 24, 2014

studio 2

Darina Meagher, Hotel Rooms, all Oil on Board, 55cm x 40cm

Darina Meagher, Hotel Rooms, all Oil on Board, 55cm x 40cm

With a practice situated firmly in the realm of realism, I am drawn to the interior space, these receptacles of our inner lives, spaces we occupy both publicly and privately. I have been developing formulae as a way of creating work, each painting is a new space or dimension – somehow the actuality of paint creates an environment which allows something new or unforeseen to come about. The studio becomes a laboratory where the experiments are made in mark and colour; the painted illusion allows an incomplete glimpse of another world, suspended, creating a forum somewhere between the screen and the picture frame.

Searching the internet for: the top ten cities in the world + the top ten hotel rooms in the world I painted the first image that I found. Each room is a repository, which contains us for a moment in time. The rooms themselves contained through paint. Although located all over the world each room looks almost the same, homogenised.

Darina Meagher, Emotion + Place, all Oil on Board, 120cm x 90cm

Darina Meagher, Emotion + Place, all Oil on Board, 120cm x 90cm

Following on, I searched: the top emotions in the world + the top city in the world. Using details of these found images, I explore emotion and place through paint. Challenging myself with every brushstroke and mark, the resulting vigor comes from this engagement both with the medium and the media. Although not fully resolved these works are at the cusp of almost there and mark a shift in my practice.

I am currently based in a studio at the RHA Gallery, Dublin.

studio 1

Posted by Darina Meagher

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Genieve Figgis

October 25, 2014
Genieve Figgis, Lady on a Horse, 2014

Genieve Figgis, Lady on a Horse, 2014

Since completing her studies at NCAD, Dublin in 2012, Genieve Figgis has received a lot of attention. Her steadily growing reputation is boosted by her use of social media, and now the actual paintings are receiving a good critical reception in New York. She made her American debut at Harper’s Books in East Hampton this summer. The show coincided with the publication of her first artist book, Making Love with the Devil, featuring an essay by David Rimanelli – “the figures populating Genieve Figgis’ paintings emanate from some luminescent netherworld, suspended between life and death, or living life and death or life through death in a land of the willingly lost, enchanted and menacing by turns.” Genieve’s current show Good Morning, Midnight at the Half Gallery, NY is reviewed by Roberta Smith in the New York Times (here) -“nastily entertaining pieces of work”, and featured on the blog Art Observed (here).

Genieve Figgis, 
Lady on a Sofa, 
2014, 
Oil on wood
, 48 x 36 inches

Genieve Figgis, 
Lady on a Sofa, 
2014, 
Oil on wood
, 48 x 36 inches

Genieve Figgis, 
Yes Captain, 
2014
, Acrylic on canvas, 
20 x 16 inches

Genieve Figgis, 
Yes Captain, 
2014
, Acrylic on canvas, 
20 x 16 inches

Genieve Figgis, 
Room, 
2014, 
Oil on board, 
18 x 24 inches

Genieve Figgis, 
Room, 
2014, 
Oil on board, 
18 x 24 inches

Genieve Figgis, Man with a Horse, 2014.

Genieve Figgis, Man with a Horse, 2014.

Posted by Robert Armstrong

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Kevin Mooney – Wave

October 24, 2014
Kevin Mooney, Chief, oil.

Kevin Mooney, Chief, oil.

“Wave”, Kevin Mooney’s recent exhibition at Pallas Projects/Studios, Dublin, presented new works that portrayed figures, landscapes and references to Irish history and culture. His second solo exhibition of 2014 expanded on the core concerns of “Dog Island Tales” at the Talbot Gallery earlier this year, and represented a considerable development in his practice in terms of scale and ambition.

These mostly large scale works remain underpinned by an interest in history, cultural migration and mythology. Multiple styles, motifs and abstract patterns fight for supremacy within Mooney’s painting language, where no single reading is possible. His work remains caught between, on one hand, an exploration of oil paint and its processes, and, on the other, images which suggest a darkly humorous imagined world of folk tales and modern day myth.

While the subject matter of the works invites us to contemplate the loss of mystery and magic from contemporary culture, we are also drawn in by the dynamic and often surprising layering of the compositions. There is an engagement with the process and language of painting here. Mooney’s paintings use techniques and motifs which often articulate references to painting’s history, both within and outside the mainstream.

Kevin Mooney website here.

Kevin Mooney, August Man, oil

Kevin Mooney, August Man, oil

Kevin Mooney, Wave, at Pallas Projects/Studios

Kevin Mooney, Wave, at Pallas Projects/Studios

Kevin Mooney, Wave, at Pallas Projects/Studios

Kevin Mooney, Wave, at Pallas Projects/Studios

Posted by Robert Armstrong

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Ann Marie Webb – MFA Graduate, 2014

July 30, 2014
Anne Marie Webb, Minding the Stone, acrylic oil and enamel on canvas 165x198 cms

Anne Marie Webb, Minding the Stone, acrylic oil and enamel on canvas 165×198 cms

When I start to paint I don’t think of the piece as an image. I start through action, fighting against the edge towards the centre. I have a compulsion to see beyond the frame – figure and ground are equal. By layering movement through the physicality of paint, a space forms. The frame becomes a fixer or locus for a particular perspective.  Abstraction is for me a language of reality, which acts on a subatomic level, not fixed through a namable form but one that goes beneath what we see.   The image is complete when the image floats and becomes unfixed.

Anne Marie Webb, Nocturne, oil and enamel on board, 25x31 cms

Anne Marie Webb, Nocturne, oil and enamel on board, 25×31 cms

Anne Marie Webb, Untitled, acrylic oil and enamel on canvas, 70x100 cms

Anne Marie Webb, Untitled, acrylic oil and enamel on canvas, 70×100 cms

Anne Marie Webb, Tempered, acrylic, oil and enamel on canvas, 244x165 cms

Anne Marie Webb, Tempered, acrylic, oil and enamel on canvas, 244×165 cms

Posted by Anne Marie Webb

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Elizabeth Archbold – MFA Graduate, 2014

July 11, 2014
Elizabeth Archbold, Second Time, 2014, oil on canvas, 40x30cms

Elizabeth Archbold, Second Time, 2014, oil on canvas, 40x30cms

These paintings are individual investigations into the materiality of paint and the practice of making paintings. Building up layers on the surface overtime, the forms evolve from a combination of pre-determined limits and intuitive processes

Elizabeth Archbold, Untitled, 2014, oil on linen, 25x30cms

Elizabeth Archbold, Untitled, 2014, oil on linen, 25x30cms

Elizabeth Archbold, Untitled, 2014, oil on canvas, 30x40cms

Elizabeth Archbold, Untitled, 2014, oil on canvas, 30x40cms

Posted by Elizabeth Archbold

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Joan Coen – MFA Graduate, 2014

July 10, 2014
Joan Coen, Painting, 2014

Joan Coen, Painting, 2014

My practice is concerned with paint and with its inherent capacity to materialise an image. I engage with Tradition in this particular body of work in an attempt to place Still Life within the contemporary art scene in a meaningful manner.

Joan Coen, section of installation Sabbath, 2014

Joan Coen, section of installation Sabbath, 2014

The philosophy of Plato and its exposition by later thinkers in particular Schopenhauer and Heidegger is the foundation for this work which is based on the observation of a single vessel over time. Plato expressed the belief that the artist merging his personality with a given object and in reproducing the object is expressing himself. Schopenhauer concurs that there will occasionally occur a “transition from the common knowledge of particular things to knowledge of the idea” “since the whole consciousness is completely filled and occupied by a single intuitive image”. (Will and Representation). The act of painting for me is a search for this essence which holds the Idea.

Joan Coen, Sabbath installation, 2014

Joan Coen, Sabbath installation, 2014

I see Life as Idea and through the process of paint, mark and colour engage with its flux and rhythm, drawing analogy through metaphor and creating relationship between reality and imagination.

Thought creates, therefore I find Heidegger’s statement of particular interest; “It is necessary to think one thought, one thought only and think it through to the end”.

Posted by Joan Coen

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