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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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Lesley-Ann O’Connell – MFA Graduate, 2014

July 9, 2014
Lesley Anne O’Connell, Abound, 40x50cm, oil on canvas, 2014

Lesley-Ann O’Connell, Abound, 40x50cm, oil on canvas, 2014

Seeking colour, surface, space I like to keep my painting practice an open and dynamic one. I embrace both intentionality and its ability to get scuppered by incidentals, changes of mind and the detritus of studio practice. I tend not to restrict myself too much. I hope that at its core my work reflects a curiosity for the medium and a sense of its capacities both as matter and vehicle for colour and form.

Lesley Anne O’Connell, Paintscape, oil on canvas, 40 x 50cm, 2014

Lesley-Ann O’Connell, Paintscape, oil on canvas, 40 x 50cm, 2014

Lesley Anne O’Connell, Parts equal whole, acrylic and oil on canvas, 35x45cm, 2014

Lesley-Ann O’Connell, Parts equal whole, acrylic and oil on canvas, 35x45cm, 2014

Lesley Anne O’Connell, Pulling it together in space, oil on canvas, 40x50, 2014

Lesley-Ann O’Connell, Pulling it together in space, oil on canvas, 40×50, 2014

Posted by Lesley-Ann O’Connell

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Denis Kelly – MFA Graduate, 2014

July 7, 2014
Denis Kelly, Untitled (Two Greens) 2014, acrylic on found wood,50 x 40 cm

Denis Kelly, Untitled (Two Greens) 2014, acrylic on found wood, 50 x 40 cm

The work is a playful response to architecture, design and visual culture and employs a strict reductive language that references mid and early twentieth century hard edge painting. An earlier graphic design career is reflected in much of the work where the intention is to allude rather than describe; allowing curious forms to materialise within the painting that ultimately explore light, form and space.

Denis Kelly, Untitled (Brown Field) 2014, acrylic on found wood, 50 x 40 cm

Denis Kelly, Untitled (Brown Field) 2014, acrylic on found wood, 50 x 40 cm

Denis Kelly, Untitled (Deep Blue) 2014, acrylic on found wood,50 x 40 cm

Denis Kelly, Untitled (Deep Blue) 2014, acrylic on found wood, 50 x 40 cm

Denis Kelly, Untitled (Mellow Yellow) 2014, acrylic on found wood, 50 x 40 cm

Denis Kelly, Untitled (Mellow Yellow) 2014, acrylic on found wood, 50 x 40 cm

Denis Kelly, Untitled (Mauve Centre ) 2013, acrylic and pencil on found wood, 40 x 40 cm

Denis Kelly, Untitled (Mauve Centre ) 2013, acrylic and pencil on found wood, 40 x 40 cm

Denis Kelly installation view

Denis Kelly installation view

Posted by Robert Armstrong

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Kipple

June 18, 2014
Andrew Simpson, Olive, 2013, oil on wood, 22x27 cms

Andrew Simpson, Olive, 2013, oil on wood, 22×27 cms

Showing at the NCAD Gallery, Dublin, the artists in Kipple, Natasha Conway, Daniel Jackman, Eveleen Murphy, Andrew Simpson and George Warren all graduated from the Painting Department at NCAD in 2013. They were part of a truly dynamic group of BA and MFA students. They see themselves as having “more in common with the intimism of early 20th century European painting than with the heroics of the Abstract Expressionist generation”. However their work reflects a deep connection to European and American painting, past and present. Interestingly the catalogue for their show is dedicated to Raoul De Keyser who died during their degree year; someone whose critical reception in America came late in his career.

Sharon Butler, the New York based artist and critic (Two Coats of Paint), writing in the catalogue quotes F. Scott Fitzgerald who wrote that the “test of a first-rate intelligence is the ability to hold two opposing ideas in mind at the same time and still retain the ability to function”. The opposing ideas for these Irish artists include the intimate and the heroic, the figurative and the abstract, and not least, their geographical situation on the edge of Europe but looking towards America in an increasingly internationalized art world.

Andrew Simpson,The End (Reconciled), 2014, oil on canvas, 30 x 30 cms

Andrew Simpson, The End (Reconciled), 2014, oil on canvas, 30 x 30 cms

Andrew Simpson, Vietnam. From yet with a peak, 2014, oil on canvas,12x160 cms

Andrew Simpson, Vietnam. From yet with a peak, 2014, oil on canvas,12×160 cms

Daniel Jackman, What's in Tom Sawyers pocket, 2014, oil on wood, 30x20 cms

Daniel Jackman, What’s in Tom Sawyers pocket, 2014, oil on wood, 30×20 cms

Daniel Jackman, Box, 2014, oil on wood, 25x20x20 cms

Daniel Jackman, Box, 2014, oil on wood, 25x20x20 cms

Daniel Jackman,Innings, 2014, oil on wood, 23x29 cms

Daniel Jackman, Innings, 2014, oil on wood, 23×29 cms

Daniel Jackman,Untitled, 2014, oil on canvas on wood, 50x35 cms

Daniel Jackman, Untitled, 2014, oil on canvas on wood, 50×35 cms

Eveleen Murphy, Penance, 2014, acrylic on wood, 36x41 cms

Eveleen Murphy, Penance, 2014, acrylic on wood, 36×41 cms

Eveleen Murphy, Before the Fridge, 2014, acrylic on wood, 34x41 cms

Eveleen Murphy, Before the Fridge, 2014, acrylic on wood, 34×41 cms

Eveleen Murphy, Stacks, 2014, plaster, acrylic and glitter, 35x20x18 cms

Eveleen Murphy, Stacks, 2014, plaster, acrylic and glitter, 35x20x18 cms

 

George Warren, Untitled, 2014, oil on canvas, 160x170 cms

George Warren, Untitled, 2014, oil on canvas, 160×170 cms

Natasha Conway, Dance dance dance, 2014, oil on linen on panel, 30x40 cms

Natasha Conway, Dance dance dance, 2014, oil on linen on panel, 30×40 cms

Natasha Conway, Self-Preservation, 2014, oil on linen on panel, 40x45 cms

Natasha Conway, Self-Preservation, 2014, oil on linen on panel, 40×45 cms

Natasha Conway,Shelter, 2014, oil on linen on wood, 45x40 cms

Natasha Conway,Shelter, 2014, oil on linen on wood, 45×40 cms

‘Kipple’ is a fictional word coined by author Philip K. Dick in his 1968 novel Do Androids Dream of Electric Sheep? to describe a proliferation of material ‘things’ that exist and multiply regardless of a character’s presence, or absence. In this instance, kipple is used as metaphor for the thought processes comparable to the materiality of the studio where material accumulates outside of one’s immediate consciousness.

Kipple, gallery view

Kipple, gallery view

Posted by Robert Armstrong

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Museum Hours

February 5, 2014

Museum Hours

‘When a Vienna museum guard befriends an enigmatic visitor, the grand Kunsthistorisches Art Museum becomes a mysterious crossroads which sparks explorations of their lives, the city, and the ways artworks reflect and shape the world.’

I highly recommend the film Museum Hours (2012), directed by Jem Cohen, with footage of the way we look at, visit and relate to paintings ( and the city) from the past in the present.

Posted by Madeleine Moore

800px-Pieter_Bruegel_the_Elder_-_Hunters_in_the_Snow_(Winter)_-_Google_Art_Project

Pieter Bruegel the Elder, Hunters in the Snow (Winter)

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