Paintings - 2006-2008
In 2006/7, I made 13 large paintings in a series called “Breakup Paintings”. A significant body of work.
The measurements chosen are proportional to my body size. The width (52 inches) being equal to the sweep of my hand, the height (72 inches) is my reach from top to bottom.
These are the paintings made before and after that body of work.
The measurements chosen are proportional to my body size. The width (52 inches) being equal to the sweep of my hand, the height (72 inches) is my reach from top to bottom.
These are the paintings made before and after that body of work.
work on canvas
Large 52x52 to 52x72”
Large 52x52 to 52x72”
colorful painting 53x53" acrylic on canvas 2006
Inspired by the thought of Iceland before I went to Iceland in June 2007
Mother Father
first blush - 53x72" acrylic on canvas 2008 (private collection)
Life on Mars - 45 x 60” Oil On Canvas 2006
resistance - 72x53" acrylic on canvas 2007
Next, in September 2007 I went on residency to The Ballinglen Arts Foundation in Ballycastle, Co. Mayo, Ireland for the first time.
On the Atlantic cliffs, this place, home of my fathers side of the family, is layered with continuous human occupation, evidence of creation, multiple climate changes, erosion and subsidence; where the minute echoes the monumental; and everything, rock, bird, sea, human and sky appears to be cut from the same cloth.
On the Atlantic cliffs, this place, home of my fathers side of the family, is layered with continuous human occupation, evidence of creation, multiple climate changes, erosion and subsidence; where the minute echoes the monumental; and everything, rock, bird, sea, human and sky appears to be cut from the same cloth.
an Fath (the reason why) - in The Ballinglen Museum of Art Permanent Collection
history painting 2 - 55x70"
“History Painting” one and two made in week three of the month long stay reflects a synthesis of the influences gathered there. The following year I returned and made “Matter”. It shows the beginning of a break from the specific order and structure of previous work.
Stating the Obvious
a series of five works
For many years I would wait until a painting clicked into place. I would wait for that moment, or move that would make the work make sense. Then I would know it was finished. Eventually, one day I realised, I saw/felt that this was related to a certain configuration of structural elements within each work. I looked back only to see this structure time and again in work which seemed quite diverse. These elements comprised of multiple horizons, a dark corner, often a standing figure and things stacked, all interrelated, connected, forming a way in and around a work, deeply personal, my structural necessity. I had been painting the same painting.
In this series I set out to celebrate, to intentionally lay down the structural tendencies quite obviously; to paint the same painting knowing I was doing so. What I didn’t know is that by doing that I would be ending my time with this structural configuration. Once I had pushed it consciously that structure was no longer an option to me. What followed from this act of being conscious was devastation; I was set adrift at sea, no structure to guide me - attempting each time anew to find the last note of a work. In the years after I would revisit the form, with a sense of longing for the sureness of rightness but it has never been quite the same. I find I am still at sea. (2021)
stating the obvious 5 - 72x53" acrylic on canvas
