Category Archives: Off The Wall

Buse Kanlikilic – MFA Graduate, 2017

Buse Kanlikilic, Clematis, acrylic on fibreboard and wall. Dimensions variable

This work here explores the relationship between traditional Turkish arts and the process of image making in the context of contemporary art. Referencing ornamental patterns from the arts of the Ottoman Empire, familiar visual elements are combined with significant plant motifs and three dimensional installations -creating unique patterns that have a distinct language.

This body of work is called Disposition and it symbolises the pleasure of seeing; of being conscious of the world around me and finding the alchemy between the past and present.

Disposition extracts the floral and geometrical patterns from Ottoman ornamentation and reconfigures it through a painterly medium and process. The patterns are then repeatedly built, deconstructed and rebuilt.

Buse Kanlikilic, Violets on the Rug, acrylic on wall

The large murals in the first room draw inspiration from traditional Islamic ceramic tiles, pottery and textile arts such as carpets and embroidery; while the tension and synergy between the organic components and fractal patterns rediscover the importance of elemental rhythms of nature, in the second room.

Buse Kanlikilic, Tulip Mania, acrylic on hand cut oval wood

The materials used in the assembledges (housepaint, acrylic, spray paint, marker, fibreboard, paper, flowers, thread) are integral in highlighting the multifaceted nature of this installation. The layout, architecture and structure of the rooms were carefully considered throughout the process of creating an immersive atmosphere, whilst reconnecting myself with my roots in Turkish culture.

Buse Kanlikilic, Order and Rhythm, wax dipped carnations suspended from ceiling, 200 gsm paper flower installation

Buse Kanlikilic, Broken Pattern, acrylic on wall, acrylic on 6’x6′ canvases

Photographs by Zak Milofsky

Buse Kanlikilic


Louisa Casas – MFA Graduate, 2017

Louisa Casas, Installation view MFA show 2017.


Addressing the sense of our increasing disembodiment in a reality mediated through the digital realm this work represents a counter balance to re-anchor physicality. Contrasted use of materiality and scale emphasise surface, texture, line, bulk and form.

Louisa Casas, ‘Eyes eyes shimmer and shine’ 2017 oil & mixed media on canvas, 30x40cm

Traditional media of paint and canvas are juxtaposed with works combining synthetic materials, not only fused within the surface of paint, but made also as sculptural pieces to emphasise the reinstatement of form.

Louisa Casas, installation view MFA show, 2017. Photo Zak Milofsky

Referencing the deconstructed physicality of imagery the combined works are about the materiality of making and question the future of our own sense of presence in the slick intangible surface of the virtual.

The hybrid nature of our digital experience is transcribed through mimicking the imagery and shapes of stickers from popular culture and body part assembly games of childhood. In a playful way these images question the veracity of our reconstituted pixelated identity.

Louisa Casas, ‘Torso unscrolled’ 2017 oil paint, glue, vinyl film, foam, synthetic fibre on canvas, 160x125cms.

Louisa Casas, Installation view ‘Of body part/glancing by’ 2017, oil on canvas, 28 x 34cm

Louisa Casas, ‘Oh Form’ 2017 oil paint, synthetic fabric & padding on canvas 60x50cm.

Louisa Casas    Instagram @louisa.casas

Museum Hours

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


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

Dynamic Website

Katharina Grosse, New Orleans, 2008

Work by Katharina Grosse features on Madeleine Moore’s post – New Anthology (11/5/2011) and by clicking on the image above you will be taken to Grosse’s impressive website.

Posted by Robert Amstrong

Sarah Braman

Sarah Braman, currently showing  at Museum 52 in New York, makes work that hovers between painting and sculpture which manages to be both rough and elegant at the same time. Braman herself has said about a particular body of work- ‘These sculptures are monuments to the people I love and the joy and confusion I feel in being alive, but they are not about things, they are things! They don’t exist as a reference, representation or metaphor, but as themselves. Sculpture can act as a porthole to another dimension and all the while it is in our space, real as a table or a tree’. She also shows with Lower East Side gallery Canada. 

Posted by Fergus Feehily

Off The Wall

Miranda Blennerhasset, site-specific painting, Gorey, 2011

Currently my practice consists of large-scale site-specific painted installations.  Using this medium I explore the subjects of contemporary architecture, urban design, decoration and modernism.  My work responds specifically to the location in which it is made whilst also incorporating motifs and themes from the research I am carrying out at the time.

This work which was recently exhibited in Gorey reacts directly to the site’s formal and material qualities.  The painting takes into account the details of the wooden floor, the scale and proportions of the space, the design of railings outside the building etc.  I paint directly onto the surface of a space because it is important to me that the architecture provides not only the subject matter of the work but that it becomes an integral element of the piece.  The structure of the building is fundamental both to the concept of the work and also to its final resolution.

Posted by Miranda Blennerhasset, 2nd Year MFA, NCAD