tag:blogger.com,1999:blog-26753323153891231192024-03-18T20:45:58.947-07:00Making FamiliarFugitive Papershttp://www.blogger.com/profile/12403798923461099192noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-2675332315389123119.post-14612423989076331632012-09-12T06:28:00.002-07:002012-09-12T08:28:26.841-07:00Talk Bites: Eithne Jordan/Daniel Pitin; Andreas Golder/Damien Flood<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc323WGo36QL45_noVK5sGGIQLgYd6q2JJq-x8TK1EfRLQkxUboxQV2mvHXm07BI8bzrjN5U2Xtfz8DoHFXx04EJr5MS2Md44V8UnORvj_lx47PChcBFhn3hYlOUtVI4j2TPf1AMbonY2o/s1600/Eithne+Jordan+Daniel+Pitin+(still).png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc323WGo36QL45_noVK5sGGIQLgYd6q2JJq-x8TK1EfRLQkxUboxQV2mvHXm07BI8bzrjN5U2Xtfz8DoHFXx04EJr5MS2Md44V8UnORvj_lx47PChcBFhn3hYlOUtVI4j2TPf1AMbonY2o/s640/Eithne+Jordan+Daniel+Pitin+(still).png" width="640" /></a></div>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Eithne Jordan + Daniel Pitin in conversation.</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Making Familiar(4)</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Temple Bar Gallery + Studios Dublin</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">4th September 2012</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSBfM6O01foiEKIrgP4xi6iZ_188-sRGrKFFwe0bZzVKPN9ByaVeOPMEO8LVDDjGgB7rW-hoRQjqZV_zPa-DOPZIYqqLkb5hq-4n161bn4eziBws796DL6BSw7QdiEZV4R4bF5zBtYrph7/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSBfM6O01foiEKIrgP4xi6iZ_188-sRGrKFFwe0bZzVKPN9ByaVeOPMEO8LVDDjGgB7rW-hoRQjqZV_zPa-DOPZIYqqLkb5hq-4n161bn4eziBws796DL6BSw7QdiEZV4R4bF5zBtYrph7/s640/1.jpg" width="640" /></a></div>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Damien Flood + Andreas Golder in conversation.</span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><br />
<div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Making Familiar(5)</span></span></div>
<div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Temple Bar Gallery + Studios Dublin</span></span></div>
<div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">11th September 2012</span></span></div>
<br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">It was difficult to write following Eithne Jordan + Daniel Pitin’s conversation because things seemed resolved, it was done, dusted. There was a shared commitment to their way of augmenting painted space with their subtractive and additive means that said confidently, “I know.” It was reassuring. It was welcome. The elements of photography and painted space are not argumentative on their respective canvases, it is refined, or <i>becoming</i> refined. As Mark Swords observed following Andreas Golder + Damien Flood’s conversation, the opposition between refinement and awkwardness is a pattern that can be observed in the painting practices and conversations that have been part of <i>Making Familiar</i> so far. It’s nothing to do with maturity – Mary Ramsden’s paintings are the epitome of that journey of refinement.</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Writing descriptively about painting seems superfluous at this point of <i>Making Familiar</i>. Walter Benjamin wrote that “Speech conquers thought, but writing commands it”[1]: but do we want to “command thought”? Is it not reductive to do so? Should we reduce the image into theoretical or descriptive verbal diarrhea, for no other reason than to offer the writer a space to wax lyrical?</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0d9F4Bz8Ljdrtvwe4_NmyBlVlIUo1RkhloJUwLNujfY9RJgrv-tQc0soelDiBqlb6a2u8HREAu65YSsoxQyuWOVsDZXdQYpaEE3nQen320ltF14njYlww6tKa8oyUBoL60omvcqhyphenhypheniI1h/s1600/8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0d9F4Bz8Ljdrtvwe4_NmyBlVlIUo1RkhloJUwLNujfY9RJgrv-tQc0soelDiBqlb6a2u8HREAu65YSsoxQyuWOVsDZXdQYpaEE3nQen320ltF14njYlww6tKa8oyUBoL60omvcqhyphenhypheniI1h/s640/8.jpg" width="640" /></a></div>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Eithne Jordan</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Paris Street 1</i>, 2005</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil on linen</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLy8HAPezyPldoghKzTyy3tlNbxdaqEpgyakclPGe0l7tm8XXDd_raOUn_2t3cbZwjaa1BDwbDQBNHbzNO_gJziYiOocuxP-aD0tfJXIQI9SxHc7pg2FR8JFoaPWy4zPTsxMJBw_QWRl4Q/s1600/4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLy8HAPezyPldoghKzTyy3tlNbxdaqEpgyakclPGe0l7tm8XXDd_raOUn_2t3cbZwjaa1BDwbDQBNHbzNO_gJziYiOocuxP-aD0tfJXIQI9SxHc7pg2FR8JFoaPWy4zPTsxMJBw_QWRl4Q/s640/4.jpg" width="640" /></a></div>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Eithne Jordan</span><br />
<div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Winter X11 </i>(2011)</span></span></div>
<div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil on linen</span></span></div>
<div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></span></div>
<br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">In a conversation with Robert Armstrong after hanging Eithne Jordan's work <i>Winter X11</i>, he referenced Alex Katz with regard to Jordan's compositional complexity, which is over-coated in flat simplicity. Shared agreement followed, but it was that flawed talking-whilst-thinking way of discussing the painted image directly in front of us, that my sentence above can only hint at. Like <i>Making Familiar’s</i> cumulative structure, it was what was said over the course of the last 5 weeks ( or 8 months of planning this exhibition) that armed the lining of Robert’s observation. Perhaps he only said "Alex Katz" and no more, and I knew what he meant.</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQLpCa1enohP4mIpXFzCEAUJGY6S5oAkP6Ia7UJ1WMM0CkM1aq_vRextGN3hSSU8R7p8y4_YcjF00u3NKSLd6qredYNElrN4b__e-rPT3LJay6c0Kq1l6BWHIIPotOSLvVhD3H1FRwp4of/s1600/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQLpCa1enohP4mIpXFzCEAUJGY6S5oAkP6Ia7UJ1WMM0CkM1aq_vRextGN3hSSU8R7p8y4_YcjF00u3NKSLd6qredYNElrN4b__e-rPT3LJay6c0Kq1l6BWHIIPotOSLvVhD3H1FRwp4of/s640/5.jpg" width="640" /></a></div>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Daniel Pitin</span><br />
<div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Bauhaus</i> (2012)</span></span></div>
<div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil, acrylic, candle smoke and glued paper</span></span></div>
<div style="font-family: Times; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEsrHJp78gZ-i_Y5V4XR1EdNpyE51tVSnRvXpW4jS9QL7I74FpS0ZQB4FihIetbRu7OmMe4rIpK9CF1MWhXpdA8n_pMVNv5wPHCzOPEM0u0PKSFF8WQ6OEOdmF7Th8DWvkRK2r6m5h2TJ7/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEsrHJp78gZ-i_Y5V4XR1EdNpyE51tVSnRvXpW4jS9QL7I74FpS0ZQB4FihIetbRu7OmMe4rIpK9CF1MWhXpdA8n_pMVNv5wPHCzOPEM0u0PKSFF8WQ6OEOdmF7Th8DWvkRK2r6m5h2TJ7/s640/1.jpg" width="640" /></a></div>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Daniel Pitin</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Dance Floor</i> (2012)</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil, acrylic and mixed media on canvas</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The same can be said of a conversation that was had with Daniel Pitin, following the official conversation with the artist in the gallery. Politics and art came up at the dinner table. It was offset by a question posed in the gallery by the Czech Ambassador to Ireland Tomas Kafka, that pointed a finger at Daniel being a late child of communism. But it was the artist's aversion to such political agency at the dinner table that said so much more than his outward denial or polite agreement in the gallery. Maybe it was a case that being born late into such a regime allows Daniel to be objective about his position as an artist – a painter who desires to activate space with paint, not to paint the pangs of history. As Jacques Rancière observes: aesthetics and politics are intrinsically tied to art without being predetermined.</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="font-size: large;">"Andreas Golder's paintings look like the covers of death metal albums: Damien Flood's paintings are death metal." </span>(Alan Butler, post-conversation at TBG+S)</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">If you consider Damien Flood + Andreas Golder's shared music taste, Alan Butler's metaphor is perfectly poised as both criticism and compliment; depending on whether you want to be an artist that approximates <i>The Thing</i>, or an artist that makes <i>The Thing</i> itself.<b> Note: I am defining <i>The Thing</i> as something that is easily verbalised but almost impossible to visualise, such as a feeling, mood etc.</b> The metaphor of death metal can be stretched even further when you consider the genre of music that we are talking about ("genre" sounding pompous when equated with death metal). Death metal is not exactly the same as Peter Cushing rolling verbs off his clipped British tongue – death metal looks like Andreas Golder's tongue twister of a painting <i>Kuss </i>(2011) – a “nastier” version of Gustav Klimt<i> The Kiss</i> (1908) – and feels like Flood's headbanger mound in <i>Fur(</i>2012). </span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMkRFGOEFR-YAS0hzPRe95nJETSomoMIvpuMj8Pd6qcBFHo5YraVNL9XSI6Shmu1WxMvvARe9MB0uYcrSys2MIXMAqozkmXxWw6d1QxG224_WrrVUP6oeJp04uTVkrVNFPsAEA7nIaVuIS/s1600/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMkRFGOEFR-YAS0hzPRe95nJETSomoMIvpuMj8Pd6qcBFHo5YraVNL9XSI6Shmu1WxMvvARe9MB0uYcrSys2MIXMAqozkmXxWw6d1QxG224_WrrVUP6oeJp04uTVkrVNFPsAEA7nIaVuIS/s640/5.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Andreas Golder</span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Kuss</i> (2011)</span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil on Canvas</span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8bDx5aL0PpvfLWImPUj1zWV3BdoalDVR5OVcW4lx-xV8ehSFU8FHjpUjDadKYsuaOcze8MgqDyhFJ8Frh_ibjJ3Z7gp35l6vZbkYBlK5zzj7OfSQOgvdp0ub3dG95CrClg1oZsVtHjsAP/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8bDx5aL0PpvfLWImPUj1zWV3BdoalDVR5OVcW4lx-xV8ehSFU8FHjpUjDadKYsuaOcze8MgqDyhFJ8Frh_ibjJ3Z7gp35l6vZbkYBlK5zzj7OfSQOgvdp0ub3dG95CrClg1oZsVtHjsAP/s640/1.jpg" width="480" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Damien Flood</span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Fur</i> (2012)</span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil on canvas</span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Previously I spoke of the <i>subject</i> vs <i>object</i> in Diana Copperwhite and Vicky Wright's paintings, but <i>The Thing</i> is something that has only emerged during the conversation with Eithne Jordan + Daniel Pitin (in relation to the feeling or mood of a work of art), and during Damien Flood + </span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Andreas Golder’s conversation, whereby <i>The Thing</i> became the avoidance of the <i>subject</i>, because the <i>subject</i> – as articulated through language – is a poor cousin of what is being said (or not said) on the canvas. </span></div>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmppmvcJ7lWOyeBW2xYEFw12InutfhWb5plCQXjvndC9piXEdvUzf1aygAbeX9rAj5sGb75ykK4Hsmv0_5KOyjwoYe2BbXh0ix8cQ8_OYZGfsdrKY6C2JO2Gmd9vIseqohEDieAOXzDWY7/s1600/6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmppmvcJ7lWOyeBW2xYEFw12InutfhWb5plCQXjvndC9piXEdvUzf1aygAbeX9rAj5sGb75ykK4Hsmv0_5KOyjwoYe2BbXh0ix8cQ8_OYZGfsdrKY6C2JO2Gmd9vIseqohEDieAOXzDWY7/s640/6.jpg" width="640" /></a></div>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Andreas Golder</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Illustration für J. P. Sartre </i>(2011)</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil on Canvas</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i><br /></i></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>The Thing</i> is difficult to extricate from the paintings of Andreas Golder + Damien Flood, but it’s there, hiding beneath the paint in Damien’s work, and behind the authorial denial in Andreas’ paintings.</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Andreas Golder’s two larger paintings in the gallery <i>Kuss</i> and <i>Illustration für J. P. Sartre</i> have 3 steps to ‘refinement’: prepare canvas with thick gesso; coat with black glossy layer of oil paint; apply a gestural impasto layer of pink and red to illustrate a scene or thing. As he said during the gallery conversation, the reflective surface gives enough information that there is no need to overcomplicate things in the gestural passages. The impact of his paintings are instantaneous, helped along with his fetishistic use of material. Linseed oil flows over the edges of the unprimed canvas. Choppy black crusts of paint reach beyond the border of the paint stretcher. Cynically, his paint application is perfect for the art market conveyor belt (I don’t think he would disagree), and have enough impact to hold the collector’s attention for the check book to be unfolded. But there is more to the work than surface and being obligated to the gallery and art market. I fell in love with them as soon as we opened the wooden crate in the gallery; time will tell if it was a one night stand...</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">But Andreas doesn’t want to be “analysed.” When the artist responded to my “subversive” reading of his work as my projected desire, and nothing to do with him, there is sense that he is playing the Gerhard Richter ‘debunking’ card, whereby the artist deflates the verbal bombast that painting might potentially produce by ‘admitting’ that painting is “pure stupidity,” or, “I do it because I have to pay the rent.” It’s superior posturing from a false self-effacing position. These are all defense mechanisms to extricate the author from the responsibility of <i>their</i> conceived imagery. But I have to admit, when painters do talk about what is behind the paint, I am usually disappointed. </span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEwmzi7pPOjcg1Uo3H5_RIvPCn0br4otxev72xYHaLSNcwO9HvHO3cwdnS57HPYNN6CkrxXvvf9nPe1Mq_4fD8AhNW74xUBk_huS7yJGCzepZU83RiLiFlW1j8xjJd4qULMvMgHZXAkxXn/s1600/4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEwmzi7pPOjcg1Uo3H5_RIvPCn0br4otxev72xYHaLSNcwO9HvHO3cwdnS57HPYNN6CkrxXvvf9nPe1Mq_4fD8AhNW74xUBk_huS7yJGCzepZU83RiLiFlW1j8xjJd4qULMvMgHZXAkxXn/s640/4.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Damien Flood</span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Breath </i>(2012)</span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil on Canvas</span></div>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Following the conversation with Andreas + Damien, Fine Art student Chris Collins asked about the necessity to make a painting ‘work’ on the part of the artist – that ‘failure’ cannot be considered. This is something that has been remarked upon throughout the <i>Making Familiar</i> conversations – paintings being discarded, worked over, or serialised in scale or medium until they ‘work’. In the case of Damien’s paintings, which are slow-burners rather than impact pieces, there is an constant challenging of his own aesthetic taste and what he presumes will be the viewer’s taste. In contrast to the calm surface of Andreas’ paintings, Damien’s works are agitated. I can imagine Van Gogh pausing for some time to rub his scalp in front of them. They are relentlessly optimistic. There is a love of paint and what paint can and cannot do. His paintings are the seeds of ambition – seeds that are blessed with a thyroid problem. His painted images are not cellular, but granular, and aesthetically stubborn.</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Responding to Chris Collins’ question regarding the artist's pressure to make paintings that work: of course, it is the artist’s choice and responsibility to choose a painting that he/she will bravely reveal to the gallerist, and then the public to judge. It is also the artist’s responsibility to commit to drop the paint brushes and move sideways to the next canvas. However, there should be an element of wavering insecurity in what the artist perceives as a successful work. Perhaps, overtime, artists begin to solve the visual conundrum of the viewer, gallerist, and collector’s aesthetic taste in their immediate circle. But there is always a tinge of visual rebellion in the work of represented painters such as Eithne, Daniel, Damien and Andreas, which their solo shows for their respective galleries have revealed over the years. There seems to be a shared understanding between gallerist and artist that aesthetic taste needs to be continually challenged, if not, the artist will end up seeing his/her signature looking back at them in the mirror: that’s a creative cul de sac if ever I’d seen one. JAMES MERRIGAN</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[1] Walter Benjamin, <i>One-Way Street and Other Writings</i>, (Trans.)Edmund Jephcott and Kingsley Shorter, Suhrkamp Verlag, 1979, p. 66.</span><br />
<div>
<br /></div>
<div>
<br /></div>
<div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br /></div>
Fugitive Papershttp://www.blogger.com/profile/12403798923461099192noreply@blogger.com0tag:blogger.com,1999:blog-2675332315389123119.post-21642238497619056792012-09-03T12:46:00.003-07:002012-09-07T00:11:17.111-07:00A Mine F***d, A Mind F**K: Diana Copperwhite + Vicky Wright<div>
<br /></div>
<div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGMsEvVUmjfO09WFzi96qA4KzA7fMcN6sHnaXpzUqbXM5WhPXQiiz7CzuspssAmRQi0bpGX0wFTsWt63NORoivv7JsQCMLUsqyhtpRqX45SX9IxRwjSAeV6wgRs8N_NiVKv07rA2z3X9XT/s1600/3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGMsEvVUmjfO09WFzi96qA4KzA7fMcN6sHnaXpzUqbXM5WhPXQiiz7CzuspssAmRQi0bpGX0wFTsWt63NORoivv7JsQCMLUsqyhtpRqX45SX9IxRwjSAeV6wgRs8N_NiVKv07rA2z3X9XT/s640/3.jpg" style="cursor: move;" width="640" /></a></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPcqWYv2oWcv93K0SWjwMXjFWlJfc3Isl1yVKMSQK1L_NqQ2tvDgYiuiZ8EBKA_MtC2uafZr0Lf7-fy5J-Vh9NdUqwBTTfkl-ih0x9ajPRSGLhrIV_Xbl9wUg6Du5XHGPnhoGAMdm8nsQe/s1600/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPcqWYv2oWcv93K0SWjwMXjFWlJfc3Isl1yVKMSQK1L_NqQ2tvDgYiuiZ8EBKA_MtC2uafZr0Lf7-fy5J-Vh9NdUqwBTTfkl-ih0x9ajPRSGLhrIV_Xbl9wUg6Du5XHGPnhoGAMdm8nsQe/s640/2.jpg" style="cursor: move;" width="640" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="color: #222222; font-family: 'Courier New', Courier, FreeMono, monospace; font-size: 15px; line-height: 21px;"></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Making Familiar</i></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> Conversation(3)</span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span></div>
</div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">with Diana Copperwhite + Vicky Wright</span></div>
</div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">28st September, 2012</span></div>
</div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Temple Bar Gallery and Studios Dublin</span></div>
</div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">"In the art-work content and form are one: meaning...In documents the subject matter is wholly dominant" Walter Benjamin[1]</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The day before the third installment of the <i>Making Familiar</i> conversations – a live process that offsets each successive weekly rotation of paired painting practices at Temple Bar Gallery + Studios (TBG+S) – I felt a need for reflection. There is something counter to the nature of painting as a reflective art practice that the <i>Making Familiar</i> curatorial goes against. As curators, we have set in motion an engine of discourse that has no STOP button: I am excited, but afraid of this fast-forward momentum forced onto painting.</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOyfDN_gRclvaZH144y55VDT9xGq0vUy5ODtIti1JJZEQq0eXOMRoB5rXG1u24nM7YMFgQ5vcxnsD1GJV3ikxmNFFN1aEBlrL0GzjvYZ4kO0bXyqHf26sgHNjXD-DOwFO_9FntwJI5SfJi/s1600/_DSC2825.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOyfDN_gRclvaZH144y55VDT9xGq0vUy5ODtIti1JJZEQq0eXOMRoB5rXG1u24nM7YMFgQ5vcxnsD1GJV3ikxmNFFN1aEBlrL0GzjvYZ4kO0bXyqHf26sgHNjXD-DOwFO_9FntwJI5SfJi/s640/_DSC2825.jpeg" style="cursor: move;" width="460" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Vicky Wright</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Guardian LI</i> (2011)</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil on panel</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAzB07Cltqtj054ZSAPN-mBI1iI0DE8RKXaRwEyC81hdu8nWZFPJkig3M4hfNYXXkxZh2Zxzx0Gn6ux9C5TEEM7LeNzPRS73sNOLaHqJ5F4dkY6JMcb5DVMFm0rnzwAF43hyr6gv3DcdDS/s1600/7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAzB07Cltqtj054ZSAPN-mBI1iI0DE8RKXaRwEyC81hdu8nWZFPJkig3M4hfNYXXkxZh2Zxzx0Gn6ux9C5TEEM7LeNzPRS73sNOLaHqJ5F4dkY6JMcb5DVMFm0rnzwAF43hyr6gv3DcdDS/s640/7.jpg" style="cursor: move;" width="640" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Diana Copperwhite (2012)</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil on Canvas</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">This effort to catch up on, or not forget one’s continually arising questions, occurred when hanging the works of Diana Copperwhite and Vicky Wright; especially during and after their conversation the following day in the gallery, when stark oppositions between the subject and object of their art practices came out to play on the gallery walls, and via their responses to questions posed by myself and Robert Armstrong. These implicit oppositions had nothing to do with the explicit visual oppositions in their use of colour, handling of paint, scale of work; but everything to do with the disappearing, or becoming, <i>subject</i> of their paintings. The question that I am left with is concerned with the <i>subject</i> of painting (the philosophical, political, social, biographical underpinning) being overpowered by the <i>object</i> of painting practice(materiality), and vice versa? </span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq6xPOUwVktJuXIYRbB6BtjleWs4FnzxLNs7LTYokTMeRrFMoX4aDHASac4umGNau1twPPC_qxZgxGuRFjMqJY7qsFe_Ji9ZYpXZn2DPmj44TRTaH8ZQWRClbTGuEfUnH2RospoZaqaOQO/s1600/_DSC1540.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq6xPOUwVktJuXIYRbB6BtjleWs4FnzxLNs7LTYokTMeRrFMoX4aDHASac4umGNau1twPPC_qxZgxGuRFjMqJY7qsFe_Ji9ZYpXZn2DPmj44TRTaH8ZQWRClbTGuEfUnH2RospoZaqaOQO/s640/_DSC1540.jpeg" style="cursor: move;" width="458" /></a></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Vicky Wright </span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Guardian XLIII </i></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">(2010)</span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil on panel</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpPe7k9cPMV1XcRhAN89a0SYu4LZEAAD0NGqhcCn5j9BipsBUog80pJhXlIY88lijFUSG32VlhhPeRpHkTWXiCxMU-4VI77UWUS4-RSmpn-1n-0q1fPcGHyNUHrywQWwT02Cs3U4AjIquV/s1600/6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpPe7k9cPMV1XcRhAN89a0SYu4LZEAAD0NGqhcCn5j9BipsBUog80pJhXlIY88lijFUSG32VlhhPeRpHkTWXiCxMU-4VI77UWUS4-RSmpn-1n-0q1fPcGHyNUHrywQWwT02Cs3U4AjIquV/s640/6.jpg" style="cursor: move;" width="640" /></a></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Diana Copperwhite (2012)</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil on Canvas</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">A question posed by Slavka Sverakova via email also challenged the ethos of the <i>Making Familiar</i> conversations: “What of tacitur artists? Those who are shy, unable, unwilling, temperamentally not suited, distrustful of words as opposed to mute poetry, of skids of meaning in verbal translation of the tactile, visual, sensual...etc.” </span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Slavka’s question brought me right back to the opposition between the <i>object</i> and <i>subject</i> of painting practice, especially within the context of the <i>Making Familiar</i> conversations. What of those artists who paint objects, not subjects. Of course, there is always a subject, but for the painter who puts the materiality and its ‘face-value’ ahead of an intention to translate some verbal insight to the viewer, can and should the object biased painter converse at all? Or is the materiality of paint the primary reason why artists paint? Is the <i>subject</i> a side-effect of the knowledge economy? And how does painting negotiate an art world that favours the <i>subject</i>? </span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The <i>object</i> vs the <i>subject</i> in Copperwhite and Wright's paintings suggest shared concerns to do with the legibility of the painted image. In Wright's work, jumbles of forms fight for realisation, or, in Copperwhite's case, figuration is obscured, like a child wiping a mess from its face. </span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUZZkJhgcerREZsxxetn2oS37Cu4vdDvRIZIWfyq0sEmm6YaLArBK61ZMjFwibtqF6GutSDaxPx0QoU1E0rLyZ8Pl2hT56MT6BHf5XjIuhUqWfNvUaLyUDKb8bzhe1vehrl2OuwXnY_rma/s1600/_DSC0436.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUZZkJhgcerREZsxxetn2oS37Cu4vdDvRIZIWfyq0sEmm6YaLArBK61ZMjFwibtqF6GutSDaxPx0QoU1E0rLyZ8Pl2hT56MT6BHf5XjIuhUqWfNvUaLyUDKb8bzhe1vehrl2OuwXnY_rma/s640/_DSC0436.jpeg" style="cursor: move;" width="382" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Vicky Wright</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Pacifist Virgin II</i> (2012)</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil on panel</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">200 x 120 cm</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZobYC7UTyHl0lDJ1BM9Ll2kuCrniamTtgPrBgRLAL3sZk0h2TbFW2tM8bdAavhwNuJnD6kDGOpZalKPAibocSSNMYShmug2lDa6a8Qt7YKF68pVUq9aVzP4miA05Tmqbwv99_vmDTHU6y/s1600/19.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZobYC7UTyHl0lDJ1BM9Ll2kuCrniamTtgPrBgRLAL3sZk0h2TbFW2tM8bdAavhwNuJnD6kDGOpZalKPAibocSSNMYShmug2lDa6a8Qt7YKF68pVUq9aVzP4miA05Tmqbwv99_vmDTHU6y/s640/19.jpg" style="cursor: move;" width="640" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Vicky Wright</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Pacifist Virgin II</i> (2012)(DETAIL)</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil on panel</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Wright’s mention of Jean–Francois Lyotard’s <i>Libdinal Economy </i>during the<i> Making Familiar</i> conversation – an unusually multi-stylistic philosophical text – gives a key to her interest in the underbelly of society. The first chapter of Lyotard’s <i>Libdinal Economy</i> entitled ‘The Great Ephemeral Skin’, opens with an order to the reader: “Open the so-called body and spread out all its surfaces.”[2] With cold surgical calculation and pychoanalytical navel-gazing, Lyotard’s words undress the body as a way to unmask its desires. Surgery and desire are at the heart of Wright’s paintings – the artist admitted that she sometimes lies the painting support horizontally on the studio floor, digging out an image rather than vertically brushing the surface and layers of paint. As Robert Armstrong observed during the conversation with the artist, Wright’s methodology is “quite neat and controlled.”</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Wright's <i>object</i> – with regard to the repeated use of a predetermined framed plywood support on which she paints – suggests the subject of the frame/framing is a determining factor of the rigid trajectory of the image. However, this rigidity loosens when the totem forms leak onto the frame.</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Throw the term 'abjection' into the painted mix (with a psychoanalytical shovel), and Copperwhite’s paintings become seductive objects; sirens of colour and texture. Wright’s paintings on the other hand signify the remains of societal waste, representing a mine field with regard to the object of painting, and a mind fuck in regard to the painted subject.</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzEt7vcR-yFAzc39ZkKdQg1qPIbeOpux-8RqauQh-Y8W0OhdD5CZS61J7_QqvEWkK9UG8BT0Zt9GS_ruIWhQZ778ynRpawRPDz8KSHQ6bxweFoZc-jaPhb5UU0n_R4bNY8aNPhqqPlx41o/s1600/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="606" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzEt7vcR-yFAzc39ZkKdQg1qPIbeOpux-8RqauQh-Y8W0OhdD5CZS61J7_QqvEWkK9UG8BT0Zt9GS_ruIWhQZ778ynRpawRPDz8KSHQ6bxweFoZc-jaPhb5UU0n_R4bNY8aNPhqqPlx41o/s640/5.jpg" style="cursor: move;" width="640" /></a></div>
<div style="text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Diana Copperwhite (2012)</span></div>
</div>
</div>
<div class="separator" style="clear: both; font-family: 'Courier New', Courier, monospace; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
Oil on Canvas</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsPqtTk-CUYEt2BK1-F8QMUedbjNXVndEEjN_7W-RykE-KElPCZq19YtBaxdJTb0TAXHYJNJrJI28DtmRgA7GsfQ_32MRUm2QD4vnw5bViOOKg3JdinjjEpNSkw_wStb49Ts4iY3p5xnm7/s1600/18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsPqtTk-CUYEt2BK1-F8QMUedbjNXVndEEjN_7W-RykE-KElPCZq19YtBaxdJTb0TAXHYJNJrJI28DtmRgA7GsfQ_32MRUm2QD4vnw5bViOOKg3JdinjjEpNSkw_wStb49Ts4iY3p5xnm7/s640/18.jpg" style="cursor: move;" width="640" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Diana Copperwhite (2012)(DETAIL)</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Oil on Canvas</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The abject, as Julia Kristeva would see it, is the covered-over waste of society: the human sewerage outlet that hides behind a craggy shore that leads to the ‘golden beach’ of civilisation. But although hidden and at a safe distance from capitalism, the abject has the potential to overthrow governments and religious doctrine, if, and when, uncovered. Wright mentions the recent London riots as a visual reference, a time when the abject literally spilt onto the streets.</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Copperwhite’s repeated motif is a spectrum glimmer – the refracted light that bounces off a compact disc or other reflective surface. Although a group of people can experience such light anomalies (as was the case when a rainbow of colour shot across a wall in the gallery just before the conversation with the two artists), your point of view determines the form that the rainbow bands take. </span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Copperwhite either blots out a portrait; chases the contour of a figure; or folds these glimmers into a figure: a visual partner to Gilles Deleuze's philosophy of the baroque <i>Fold</i>.[3] In this subjective sense, abjection for Copperwhite is not a subject, but an object – the object of paint as material. It is usually the case with painting practice that the <i>subject</i> and <i>object</i> fight for relevance, but one invariably overrides the other. JAMES MERRIGAN</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Notes</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[1] Walter Benjamin, <i>One-Way Street and Other Writings,</i></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> (Trans.)Edmund Jephcott and Kingsley Shorter, Suhrkamp Verlag, 1979, p. 66.</span><br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[2] Jean-Francois Lyotard, <i>Libidinal Economy</i>, Continuum, 2004, p.1.</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[3] Gilles Deleuze, <i>The Fold</i>, Continuum, 2006.</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
</div>
</div>
Fugitive Papershttp://www.blogger.com/profile/12403798923461099192noreply@blogger.com0tag:blogger.com,1999:blog-2675332315389123119.post-65114971332088327792012-08-28T01:52:00.000-07:002012-08-28T03:58:41.709-07:00Don’t Say Sublime: Mark Joyce and Mary Ramsden<div>
<br /></div>
<div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1z354zHtHJ6dZNrhGSbU4is7Ek9AMiCq3lgy2BB0nI_h_ucxcxeTVuvz1eKqBTpBZWfNX8164Z7pIvBRrpbIGhLKNUAAAtUbbX2b7VY6D53L0fjOorRxOL4DxM7nMpu2Nz3KP3zFtaojc/s1600/24.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1z354zHtHJ6dZNrhGSbU4is7Ek9AMiCq3lgy2BB0nI_h_ucxcxeTVuvz1eKqBTpBZWfNX8164Z7pIvBRrpbIGhLKNUAAAtUbbX2b7VY6D53L0fjOorRxOL4DxM7nMpu2Nz3KP3zFtaojc/s640/24.jpg" style="cursor: move;" width="640" /></a></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN5zslbNfXvMMs49YoLpUpXtVK9QmMeveOsct_D4VOUKsgFKQaPVDYhzbY1WdjmP1TNl31yt9zOVhpzFK_C1JuIkinJ2AP_0WzRxO5B2jQL3C5UZOP0Cc5UG89iYUMad3Gt3UxLbpohgZu/s1600/25.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN5zslbNfXvMMs49YoLpUpXtVK9QmMeveOsct_D4VOUKsgFKQaPVDYhzbY1WdjmP1TNl31yt9zOVhpzFK_C1JuIkinJ2AP_0WzRxO5B2jQL3C5UZOP0Cc5UG89iYUMad3Gt3UxLbpohgZu/s640/25.jpg" style="cursor: move;" width="640" /></a></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Making Familiar</i></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> Conversation(2)</span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">with Mark Joyce</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">21st September, 2012</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Temple Bar Gallery and Studios Dublin</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">“I propose a moratorium on the word[sublime]: let’s say what we admire in art and science, but let’s say it directly, using words that are fresh and exact.” </span></div>
<div style="text-align: right;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">James Elkins</span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[1]</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">If metaphor wasn’t hardwired into one's reception of the abstracted image, Mark Joyce and Mary Ramsden's paintings could be comfortably termed pure abstraction, or pure presence - the defining measure of the sublime. But our reliance on metaphor to make aesthetic judgments, and the agency of comparison and history to deal with a painting that you are presently looking at, offers the medium no respite from such tropes of convenience. Jean-Luc Nancy writes: "In the beautiful and in the sublime - which are neither things nor qualities of objects but judgments - and more precisely, aesthetic judgments.”[2]</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5NJJGICN6gy73c2fMvX4bMwBBUSdBNUNYCmzvs-qQFTe5ZpeUzPbUFBM5L6sjywUmkFg5cJsGsQPAtS7RG1MiI98ooBZFse_7pAelbUhyphenhyphennH448qpX5_CiVeR_VD6IqxysrL-js_nXKpzG/s1600/7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5NJJGICN6gy73c2fMvX4bMwBBUSdBNUNYCmzvs-qQFTe5ZpeUzPbUFBM5L6sjywUmkFg5cJsGsQPAtS7RG1MiI98ooBZFse_7pAelbUhyphenhyphennH448qpX5_CiVeR_VD6IqxysrL-js_nXKpzG/s640/7.jpg" style="cursor: move;" width="570" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Mark Joyce</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>The Edge of Light</i> (2012)</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">acrylic on panel</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><br /></div>
<div style="text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbr_Cb-T5n-_n91-0JKEvWjBGSJGjlRtaatuvWwnfL_qaszQ3hfhkmfx2oJFBc-o-4k82PAyhaszdc8ZSRke4Ed3PiiNAt4I6e-6zjcqBr-ZTStaD7ZHsvjGSGBhEB7irVYKthrmTXLq-P/s1600/11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="624" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbr_Cb-T5n-_n91-0JKEvWjBGSJGjlRtaatuvWwnfL_qaszQ3hfhkmfx2oJFBc-o-4k82PAyhaszdc8ZSRke4Ed3PiiNAt4I6e-6zjcqBr-ZTStaD7ZHsvjGSGBhEB7irVYKthrmTXLq-P/s640/11.jpg" style="cursor: move;" width="640" /></a></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span><br /></div>
<div style="text-align: left;">
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span></div>
<div style="text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Mary Ramsden</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span></div>
<div style="text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Untitled</i></span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span></div>
<div style="text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">oil on canvas</span></div>
</div>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">
</span><br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Painting in general has never shed itself of its inherited history, so terms such as the sublime and the beautiful have tagged along since Romanticism. Criticisms pitched at the sublime include the influx of personal subjectivities of the writer into the fold of writing. Furthermore, the sublime invites verbal flights of fancy and an escape from theory and critical thought, as the writer gets lost in the daisy field of the literary. However, as Mark Joyce observed during the <i>Making Familiar</i>(2) conversation with the artist at Temple Bar Gallery + Studios on 21st August 2012, art writers feel compelled to write on painting out of pleasure. The potential for verbal insights is richest when philosophers and poets write around painting. What else is left to talk or write about with regard to painting – surely not just surface?</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Although James Elkins opines via two French philosophers that the sublime is the "central problem of representation itself"(Nancy), or the "crux of modern painting"(Jean-Francois Lyotard[3], my quandary is, I have always equated the term sublime to Mark Joyce’s paintings. I know now that the artist is well aware to thread carefully around such a term, as he said during the conversation, “I am fine with beautiful, but sublime..?” The mere mention of sublime regarding painting in general does suggest what the analytical philosopher Paul Crowther describes as "coloristic painterliness,"[4] but only if you reduce the sublime to J.M.W. Turner's painted sunsets.</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Since Joyce's return to painting in 2003, after a photographic-turn, his skirmishes with colour and light have went from cold experimentation to warm discovery. Small in size, his earlier paintings evoke those secondary school moments when one is waiting for the litmus paper to turn red or blue; the subjects of colour, light, and music, registering as high coloured horizontal strips (or zips), wavy lines, and less ordered daubs of paint.</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Up to recently, I imagined Joyce, like Piet Mondrian, in a spotless lab coat and white tiled laboratory, with jazz playing low in the background: the only spillage of paint found in the grout between the tiles. Why so? Just his unwavering modernist commitment to painting light and colour, like a scientist with a brain itch. Joyce's best paintings from 2003 up to, but not including, his recent solo show at Green on Red gallery Dublin in 2012, have been when his familiar use of horizontal bands of colour weren't so straight, and overlap; paintings that create doubt. His current paintings have closed the gap between his earlier coy experimentations to his current focus on pictorial space. In these more resolved works, Joyce is tip-toeing away from the exciting, but desperate bit-parts of his earlier painting series, to make works that retain the previous fractal debris, but are sturdily ‘framed’ and individually committed to being one full image in their own right. </span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">But, it's not his use of full colour that produces this affect, but his consistent ground of white beneath. My subjective imagining of the sublime is not colourful or tropical, but white, black, North. The sublime lacks detail, no edge, semi-opaque.</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPQ6rUJMYPA4qyoHkL5GOw26rVsEBsenbQ-Im8PD2hxo45xfoC1FnSZoc5Mr4lIugO_wHEHk040vdXmOyb0Rv0vb7KKsnXG_b6OKdkICqsgLtomp_3-DVK8OuP_lEqAx_nx3RolomvEhKN/s1600/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPQ6rUJMYPA4qyoHkL5GOw26rVsEBsenbQ-Im8PD2hxo45xfoC1FnSZoc5Mr4lIugO_wHEHk040vdXmOyb0Rv0vb7KKsnXG_b6OKdkICqsgLtomp_3-DVK8OuP_lEqAx_nx3RolomvEhKN/s640/5.jpg" style="cursor: move;" width="588" /></a></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Mark Joyce </span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Shutter</i> (2012)</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">acrylic on panel</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhDtk5dujH1CZpsX8kD-By4EInZMC34AcYic07J-75xRqEWL1VIKXngJgp5jNfe6BIqFtMXinbQjf1fttXRmY87t_89ecGDQn95VGgqHHHYwy9Cs83Rr2UQ_ZQBz0d2G83bqcYjldbg7kW/s1600/12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhDtk5dujH1CZpsX8kD-By4EInZMC34AcYic07J-75xRqEWL1VIKXngJgp5jNfe6BIqFtMXinbQjf1fttXRmY87t_89ecGDQn95VGgqHHHYwy9Cs83Rr2UQ_ZQBz0d2G83bqcYjldbg7kW/s640/12.jpg" style="cursor: move;" width="640" /></a></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Mary Ramsden</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Untitled</i></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">oil on canvas</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Joyce's current paintings, originally shown at Green on Red earlier in 2012 under the appropriately reductive title of 'New Works', are exposures of the sublime. In <i>The Edge Of Light </i>(2012), swats of paint, or torch beams, crisscross the picture plane in unapologetic primary colour. The colour is applied flat and sharp; nuance captured through greys and some scrapped back shots of paint/light. The most arresting work is <i>Shutter</i>, 2012, where one point-perspective shards of colour miss the ‘point’, while beneath, a haze of painted forms invites the viewer beyond the violent tips of colour. What we shouldn’t mention here is heaven and earth with regard to the sublime, although Corregio’s painted Baroque ceilings do come to mind when looking at <i>Shutter</i>: "The imagination is thus destined for the beyond of the image."[5] </span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">As is the case with most forty-something painters, Mark Joyce’s painting practice can be judged and reflected upon through the work he has produced over the last 20 years. Mary Ramsden’s practice is fresh out of the oven, but, as her paintings lack explicit expressionist tendencies or figurative elements, her works bespeak a maturity well beyond her years as an artist. </span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">What bridges Mark Joyce’s paintings to Mary Ramsden’s is Joyce’s answer to my question regarding the sublime while in conversation with the artist, in which Joyce shared an insight into Edmund Burke’s origins of the term “sublime,” aptly provoked from a Dublin hotel room overlooking the River Liffey, which broke its banks in 1746. Burke wrote in a letter following the event: “that state of the soul, in which all motions are suspended, with some degree of horror[and]the mind is so infinitely filled with its object that it cannot entertain any other...”[6]</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj39TcxKCY-WUuIRGnWCqL_sZWnY4Cyt7zQdEEtUUh7UKVoeY6Pj1oMKd-hLOKDH9HD8CaJSNHt2RWuEXwbl7dlClH5rrvjbH20nf-TWDmFi6FWF4-MAG0Q2xU1w45MwssHBhoYor9JPnJi/s1600/23.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj39TcxKCY-WUuIRGnWCqL_sZWnY4Cyt7zQdEEtUUh7UKVoeY6Pj1oMKd-hLOKDH9HD8CaJSNHt2RWuEXwbl7dlClH5rrvjbH20nf-TWDmFi6FWF4-MAG0Q2xU1w45MwssHBhoYor9JPnJi/s640/23.jpg" style="cursor: move;" width="640" /></a><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">(Left)Luc Tuymans </span></div>
<div style="text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Body</i> (1990)</span></div>
</div>
<div style="text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">oil on canvas</span></div>
</div>
<div style="text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">(Right) Mary Ramsden</span></div>
</div>
<div style="text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Untitled </i></span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">oil in canvas</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Mary Ramsden’s spread-eagled uniform shapes are always at the limit of breaking the border of the canvas, sometimes spilling over, and always leaving a glimpse or two of an underpainting. Ramsden’s paintings are outy bellybuttons to Joyce’s innys. The latter gives us caverns of sharp perspectives, the former a protective shell of buttery colour. In some ways Joyce’s work does not only play with light and colour, but also space, explicitly so in his new works. Whilst Ramden’s works avoid space, representing the nothing of the sublime[7], but paradoxically, wholly figurative; as if we are up close to a figure – too close – to make out its shape, reminiscent of Luc Tuymans’<i> Body</i> (1990).</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">"Stretched to the limit, the limit (the contour of the figure) is stretched to the breaking point, as one says, and it in fact does break, dividing itself in the instant between two borders, the border of the figure and it's unlimiting unbordering. Sublime presentation is this feeling of this striving at the instant of rupture, the imagination still for an instant sensible to itself although no longer itself, in extreme tension and distension (‘overflowing’ or ‘abyss’)” (Jean-Luc Nancy)[8]</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvTs7UN9O2OaEbJVvnillLR2TA5EdkZiLx_ck3_i1wOrp2ajCbhOuC13rWAkhWTyTK3957We40MELtlC5iaJpnWYjor-DsJAPJxrDVzslKbhudGnZqPw9o2qfrioX2xLfGru0BHrUOnHZa/s1600/15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvTs7UN9O2OaEbJVvnillLR2TA5EdkZiLx_ck3_i1wOrp2ajCbhOuC13rWAkhWTyTK3957We40MELtlC5iaJpnWYjor-DsJAPJxrDVzslKbhudGnZqPw9o2qfrioX2xLfGru0BHrUOnHZa/s640/15.jpg" style="cursor: move;" width="640" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Mary Ramsden</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Making Familiar</i></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Temple Bar Gallery & Studios Dublin</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">August, 2012</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXN2v3UFJKMgNYUUD5ENNWeDy7Q-Tl6lmpGNk3QDn6-Pmi9Z_NUzEb11ANSweCvwep-4RISe_N6JYzdw4bEzobtUMCXHzsQKKIGTvhOoW_VCAVzDGYyjfn7X_QUrImOwlZe4IJRYo9CqWr/s1600/14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXN2v3UFJKMgNYUUD5ENNWeDy7Q-Tl6lmpGNk3QDn6-Pmi9Z_NUzEb11ANSweCvwep-4RISe_N6JYzdw4bEzobtUMCXHzsQKKIGTvhOoW_VCAVzDGYyjfn7X_QUrImOwlZe4IJRYo9CqWr/s640/14.jpg" style="cursor: move;" width="640" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">(Left)Mark Joyce, (Right) Mary Ramsden</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Making Familiar</i></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Temple Bar Gallery & Studios Dublin</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">August, 2012</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">We as viewers invariably use metaphor and comparison to shrink the artwork into the knowable and graspable: this is especially true of painting. Hegel describes our use of such tropes as “shrinkage,” a way of dealing with big ideas or events that make us stutter when there are no words forthcoming: a term like ‘sublime’ sorts out this subjective mess, just as the term schizophrenia bracketed unspecific mental illnesses in 1960s America. James Elkins is eager to point out in his essay ‘Against the Sublime’ that, although the sublime “is in the lexicon of contemporary art discourse” it should be abandoned, as “it takes people away from the real world of politics and society, of meaning and narrative, of culture and value.” His solution: “find synonyms to express what they mean, and those synonyms are apt to be more telling, and more useful, than the word sublime.”[9]</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Elkins’ dissatisfaction with the term stems from its contemporary misuse; its being out-of-date, its forgotten history when it is used; its theological agency; or its ignorance of poststructuralism. Bottom line, the term is a good mop for excess!</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">But, in a time when contemporary modes of art are continually abandoning, or forgetting, their ever-shortening histories, the sublime has never abandoned painting (or painting the sublime), which is the aesthetic medium par excellence – one of many reasons that explains painting’s isolation from contemporary art discourse, as it never benefitted from the cushion of post-minimalist or socio-political theory that has been built up around other art since the 1960s. What painting did get by way of theory was grand philosophical narrative that included Lyotard’s sublime articulations of Barnett Newman; Deleuze’s projection of the baser animal instincts onto Francis Bacon’s painted deformations; and Derrida’s 400 page tome <i>The Truth in Painting</i>, which opens with the proclamation: “I am interested in the idiom in painting” (read the ‘proclamation’ closer and you will see where Derrida is going, or not going ... I gave up on following after 100 pages).</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">However, the sheer scale of Derrida’s verbal outpouring validates the painted subject as a grand producer of language, and not just a habit, a quirk, that is difficult to swat away. JAMES MERRIGAN</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Notes</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[1] From James Elkins, 'Against the Sublime', 2009, [http://www.jameselkins.com/]</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[2] Jean-Luc Nancy, 'The Sublime Offering', in <i>Of the Sublime: Presence in Question</i>, Essays by Jean-Francois Courtine, Michel Deguy, Eliane Escoubas, Philippe Lacoue-Labarthe, Jean-Francois Lyotard, Louis Marin, Jean-Luc Nancy, and Jacob Rogozinski, State University of New York Press, 1993, p. 30.</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[3] James Elkins, op.cit.</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[4] Ibid.</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[5] Jean-Luc Nancy, op.cit., p. 43.</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[6] Paul de Man, <i>Aesthetic Ideology</i>, University Of Minnesota Press, 1996.</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[7] Edmund Burke, <i>A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful</i>, Oxford paperbacks, 2008.p. 95.</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[8] Jean-Luc Nancy, op.cit. p. 45-46.</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[9] James Elkins, op.cit.</span></div>
</div>
<div>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
Fugitive Papershttp://www.blogger.com/profile/12403798923461099192noreply@blogger.com0tag:blogger.com,1999:blog-2675332315389123119.post-39345052577438398382012-08-14T18:10:00.000-07:002012-08-28T02:23:38.605-07:00Spanners and Gems: Mark Swords & Paul Doran<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXXPhJ0_j1Vsr7rE9VYQ1KUhp_fA4n-EfmskoHi-gUuBb30CST0tbsMBVwOAhUS8NQNZPncrxoXuQCTSkiqLrf_S08Zd0dsNiGbBYjsS4szQm6ZOUGWw5mCtxKsIqV2IBbSrzqhcCAe7zv/s1600/MF(1)+CONVERSATIONb.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXXPhJ0_j1Vsr7rE9VYQ1KUhp_fA4n-EfmskoHi-gUuBb30CST0tbsMBVwOAhUS8NQNZPncrxoXuQCTSkiqLrf_S08Zd0dsNiGbBYjsS4szQm6ZOUGWw5mCtxKsIqV2IBbSrzqhcCAe7zv/s640/MF(1)+CONVERSATIONb.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSIg8Y6xiHEcDwLE3O5gAX-7VQl5wRgKvbPV9JBm4W-SU22ApT2HvjQEYVh9UPPK-WvjKRp8dd58SUEKbdzfwe7YciD6WtWqjHWO5_31YLifuUjqb64dlaval7sVf9C5xBacPv1SSIu-hh/s1600/MF(1)+CONVERSATIONa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSIg8Y6xiHEcDwLE3O5gAX-7VQl5wRgKvbPV9JBm4W-SU22ApT2HvjQEYVh9UPPK-WvjKRp8dd58SUEKbdzfwe7YciD6WtWqjHWO5_31YLifuUjqb64dlaval7sVf9C5xBacPv1SSIu-hh/s640/MF(1)+CONVERSATIONa.jpg" width="640" /></a></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">'Making Familiar' conversation with Mark Swords and Paul Doran</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">14th September, 2012</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Temple Bar Gallery and Studios Dublin.</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
"Collage makes poetry with the prosaic fragments of dailiness."</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
Donald Kuspit[1]</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
It maybe misleading to use the term "collage" when referring to Paul Doran and Mark Swords' paintings (not to mention the Braque and Picasso association), but perhaps collage is a more fitting way to describe their shared process of inviting unexpected elements into the predetermined materiality of painting. The art critic Donald Kuspit describes "collage" as a "flimsily made"..."deliberately flawed"..."ramshackle"... "helter skelter" looking “accident.”[2] He follows this up with his usual psychodynamic superiority over the art object: "The collage replaces privilege with equivalence, definitions of artistic being with artistic becoming, unity with energy."[3] </div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
Unlike the limiting oppositions of abstraction vs representation, collage is bi-curious; a formal deviant; a parasite; a visual expression of the fraught relationship between image and word. NO FRAME IS REQUIRED! And if a frame is considered in the mix, it is usually swallowed up by the painted image: think Howard Hodgkin’s paint-splattered frames. Failing that, the frame is dis(figured) by the artist. </div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSjH1RNCpLArZARpxhGFvH3s5rYmdSjEB3xvI20OBX7FMsDbEgZZBFSJM-_sigfN-JW9VziqH1Ni6j67HDCRKI7Kz1m0vY08HaPGLDbBoeJSA8vOwgGgWAdK-0VBiz1-2vQ4Ej8nPVO1Fw/s1600/19.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSjH1RNCpLArZARpxhGFvH3s5rYmdSjEB3xvI20OBX7FMsDbEgZZBFSJM-_sigfN-JW9VziqH1Ni6j67HDCRKI7Kz1m0vY08HaPGLDbBoeJSA8vOwgGgWAdK-0VBiz1-2vQ4Ej8nPVO1Fw/s640/19.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Paul Doran, <i>Untitled </i>(2008-2012), oil on linen over board, handmade acrylic painted frame.</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_lkpxi57ZjFaPGuWSHsnGI_cbn3lpiLPaApMxCHIx1IC9kGXR8YgD45oL2pHxFBGYbb35xuDVEa57BBFv5371BdjGnq0UTAwM_kwK0bxvF71BPkQkN3XksgpJpIPstcioSuwQ4EGYLzxe/s1600/37.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_lkpxi57ZjFaPGuWSHsnGI_cbn3lpiLPaApMxCHIx1IC9kGXR8YgD45oL2pHxFBGYbb35xuDVEa57BBFv5371BdjGnq0UTAwM_kwK0bxvF71BPkQkN3XksgpJpIPstcioSuwQ4EGYLzxe/s640/37.jpg" style="cursor: move;" width="640" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black; font-size: x-small;"><br /></span></div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black; font-size: x-small;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Mark Swords, <i>In a Cheddar Cave </i>(2009), Carpet fibre and glue.</span></span></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-size: x-small;"><br /></span></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Dis(figurement) is Paul Doran's game. The backs of his current paintings are a ramshackle mess. They look and feel like they were pieced together from off-cuts found outside the tidy workshop of an overly particular carpenter. It doesn't get much neater on the front, where thumbnail shaped pieces of hardboard and plywood are flaked into an admixture of acrylic and shredded drawings. (This "thumbnail" description originates from the first day I met Paul, when he had blood under one thumbnail - the mark of a hammer blow from some intentionally awkward construction I bet.)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCWFUXkSyJXQV-OA_WqSbXPXm7l5g5FK_nPbWaC4xQbQ8SZ6OB7lsbGZHxsjDfumstWFMstGXi0e0QnSJEcAyaEJxkpZh32Lz_Xf4NPNh-we-dZboXD4XCpOZJZ4LdMZ87wyBhbzhcXjbn/s1600/15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCWFUXkSyJXQV-OA_WqSbXPXm7l5g5FK_nPbWaC4xQbQ8SZ6OB7lsbGZHxsjDfumstWFMstGXi0e0QnSJEcAyaEJxkpZh32Lz_Xf4NPNh-we-dZboXD4XCpOZJZ4LdMZ87wyBhbzhcXjbn/s640/15.jpg" width="640" /></a></div>
</div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Paul Doran, Cove, wood, acrylic paint, fabric, and linen, 2012.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></div>
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXBxJ5owUMugM9irxSzyE7F5p4JxY34nPbylQQWI53C58Ay_TpzNUxK7FivDB3yT901mbkNsoIFFx9zkbedRJ43R8QlkGqvPWQMss3AIbnQg7NIZmsLF1GRIZoZzU9a5h1hmfapOx3y0WA/s1600/8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXBxJ5owUMugM9irxSzyE7F5p4JxY34nPbylQQWI53C58Ay_TpzNUxK7FivDB3yT901mbkNsoIFFx9zkbedRJ43R8QlkGqvPWQMss3AIbnQg7NIZmsLF1GRIZoZzU9a5h1hmfapOx3y0WA/s640/8.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Mark Swords, Ellipse, acrylic, hessian, and wood on canvas, 2012.</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br />
In contrast to Doran, being 'particular' is Mark Swords' game. We could assume that Swords is the "overly particular carpenter," who inhabits the tidy workshop from which Doran salvages the discarded waste from outside. This opposition between ‘inside’ (Swords) and ‘outside’(Doran) is the mitosis that is needed to separate the two artists. Swords’ works remind one of the Post-Impressionist interiors of Pierre Bonnard and Edouard Vuillard – self-proclaimed prophets (<i>Les Nabis</i>) of modernity. His assemblages are the result of patience and persistence and dexterity. Doran’s objects suggest Paul Cézanne, in which the sense of touch equals sight. Both artists make works that are hard-earned, for the viewer and the artist.</div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<img border="0" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF-gPYkEJtuK3y_NSNmaO9Z7jf_Xwa45gHc5GreqYyUW3o4twk6FGeM6F8I6d2hmgRVaUC1nPzc-6nLtN6DLTHvzjDOQSWfZjN7o6rsYJEoV5Q33PMU5bWggnFydb-rdnacOmy9L5t1mx3/s640/35.jpg" style="cursor: move;" width="640" /><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Mark Swords, <i>Pattern no. 2 </i>(2009), acrylic on linen.</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black; font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRvVgI5fbCHLHI8Cszs6p170CqtvbnZ6GMC8UbSw_0zz6pKFuyFK7HsHDJ-gjn9PuENCnr4wMK4GoZw15IcPlVDi4-Kgbb6pLSTciCQcdXzvjnzMaPKB4TZwlwbQvKswET_ShE5MenwaNS/s1600/12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRvVgI5fbCHLHI8Cszs6p170CqtvbnZ6GMC8UbSw_0zz6pKFuyFK7HsHDJ-gjn9PuENCnr4wMK4GoZw15IcPlVDi4-Kgbb6pLSTciCQcdXzvjnzMaPKB4TZwlwbQvKswET_ShE5MenwaNS/s640/12.jpg" style="cursor: move;" width="640" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Paul Doran, <i>Building castles in the sky </i>(2012), wood, acrylic paint, gesso, paper, linen and screws.</span> </span></div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Although both artists invite chance, Swords is a considered faith in the unforeseeable (“Prophet” maybe stretching it), whereas Doran's material meddling looks like a stick of dynamite was shoved into Pandora's Box. Doran is waiting to be surprised - inviting that tension between chance and intent to beget a work that is perpetually becoming. His art objects are demolished constructions – a continually salvaged process rather than recycled style.</div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLkPZn3GCtWpblILPmRSs_ROqMxSntMJz1IRLADQpwTZxLRaWBqkbqYiwrPYfHeF13Ar8fzNSRWRzVIRPz6GjM9dbRMHTpPketH2CE7TJpHkjc1Esjb7dZNWSNckLtJE9oyWeKCO5NzN51/s1600/13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLkPZn3GCtWpblILPmRSs_ROqMxSntMJz1IRLADQpwTZxLRaWBqkbqYiwrPYfHeF13Ar8fzNSRWRzVIRPz6GjM9dbRMHTpPketH2CE7TJpHkjc1Esjb7dZNWSNckLtJE9oyWeKCO5NzN51/s640/13.jpg" style="cursor: move;" width="640" /></a></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Paul Doran, <i>It's not easy to be me </i>(2009-2012), wood, acrylic paint, linen, fabric and pencil.</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9DL2FgubfiM_WM6uEp7JrI17HummCYxVWgYliXrQ4JxhJxfVKIGjJr1xqJ8c99z0h3SYzz67SFf838-_mBztYW53dJtMVVfW9QwAga1sdDOLqIlIveQEHVVFvngJOtsGb6rK0tphCQdvM/s1600/15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9DL2FgubfiM_WM6uEp7JrI17HummCYxVWgYliXrQ4JxhJxfVKIGjJr1xqJ8c99z0h3SYzz67SFf838-_mBztYW53dJtMVVfW9QwAga1sdDOLqIlIveQEHVVFvngJOtsGb6rK0tphCQdvM/s640/15.jpg" style="cursor: move;" width="640" /></a></div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; clear: left; color: black; display: inline; float: none; font-size: x-small; margin-bottom: 1em; margin-right: 1em; text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Mark Swords, <i>Four Ties</i> 2012, fabric and thread.</span></span></div>
</div>
</div>
<div style="margin-left: 1em; margin-right: 1em; text-align: center;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV6mtVgWySInHNJomqta_BFp2rGsRpDeQ_P_HWEjBxD1hV39H-58VUnuFmrsDhOHzT_y_YPjK5S6Y-sZA-46Bi1AcsgUq_6Io5UppPPJMSm8_qd8j6OL_qjXIYUYuYG1kYwCtnRhOrSwjC/s1600/18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"></span></a></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Both of their practices are cursed (or blessed) by contradiction: formal conundrums of beauty and the beast. Swords' objects are usually well-dressed, while Doran’s have just got out of bed...and on the wrong side. His painting <i>It’s not easy to be me</i> looks like a handful of doilies were pasted together – a coagulated mess from last night's food fight. Paired with Swords’ dapper <i>Four Ties</i> 2012, we get a sense of their contrasting sensibilities. Saying that, Swords’ <i>Everything is connected </i>(See Below) seems like the painting stretcher is wearing the wrong size canvas, as ‘staples’ wander from the edges to the painting proper. These conundrums and contradictions are made visible in how both artists are placed side-by-side at Temple Bar Gallery & Studios. What we get from Doran and Swords is a mixed bag of spanners and gems. </div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS3SJ39i4XIqJ3ocl-mao7JhuMrnBQ77I81jqf45I6hI6TAkpliQvrNzW8F0URCv11pzsORUOZi-80iUzd74wgcvzXTUe86E4BHcjznjX2pBTd68BuBpHLf0Oowtl7-ORsg57f65yqhNb9/s1600/36.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS3SJ39i4XIqJ3ocl-mao7JhuMrnBQ77I81jqf45I6hI6TAkpliQvrNzW8F0URCv11pzsORUOZi-80iUzd74wgcvzXTUe86E4BHcjznjX2pBTd68BuBpHLf0Oowtl7-ORsg57f65yqhNb9/s640/36.jpg" style="cursor: move;" width="512" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Mark Swords, <i>Everything is connected</i> (2012), oil on canvas.</span></div>
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPcuyzdv7eqgkUf22gkatQ91GaXBsJsOTpg51CHjY3Bel66rD6l9DUmWSGIgrzUFTZZCnGl9b6nRmxm2z9gzxycjxDjpmHBgmU5mvEemtgihMr9B7OMQs3Bdk6tQN-TWNvvcBAoAHvxn-A/s1600/6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPcuyzdv7eqgkUf22gkatQ91GaXBsJsOTpg51CHjY3Bel66rD6l9DUmWSGIgrzUFTZZCnGl9b6nRmxm2z9gzxycjxDjpmHBgmU5mvEemtgihMr9B7OMQs3Bdk6tQN-TWNvvcBAoAHvxn-A/s640/6.jpg" style="cursor: move;" width="640" /></a></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Mark Swords, <i>Veil</i> (2012), oil on gessoed linen panel.</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-size: x-small;"><br /></span></div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Swords’ intense jungle of curved, fan-shaped forms (See above: <i>Veil),</i> is one of the most vibrant and intense works in the gallery, in which light and colour compete for common ground. The key to this work is a band of underpainting that is left exposed on the right edge. It’s un(finished). It is becoming. His other painting entitled<i> Forgery</i> is the real ‘spanner’ in the works: however well the composition holds the painting together, the ‘badly’ mixed primary colours revisit Picasso’s assertion that the creche art class is where art begins, and ends.</div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCElKeZNFjZC_8xv3gru0mrL1Z1CHj5VGz74Cvn7dxAiRuQ6mdbctN-1po1UeMZnvK9wGZE8tLts23WrXs1WPckn69orUyYeNBNcBwcGIFE3OWp0n-SoovEcPthlv3_8JRgmrgfDVQMIGj/s1600/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCElKeZNFjZC_8xv3gru0mrL1Z1CHj5VGz74Cvn7dxAiRuQ6mdbctN-1po1UeMZnvK9wGZE8tLts23WrXs1WPckn69orUyYeNBNcBwcGIFE3OWp0n-SoovEcPthlv3_8JRgmrgfDVQMIGj/s640/5.jpg" style="cursor: move;" width="640" /></a></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Paul Doran, <i>Untitled</i> (2006-2011), oil on linen over board.</span></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-size: x-small;"><br /></span></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-size: x-small;"><br /></span></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
In the case of Doran, his history with oil paint is background noise to his new acrylics. His earlier oil paintings are layered fat with thick whips of paint like Mud Cake – a collector’s confectionary (See above: <i>Untitled </i>2006-2011). In other instances he moves oils like water, with the effortless nonchalance of a janitor scooping the scum to the edges of the swimming pool (See second image from top: <i>Untitled </i>2008-2012). Just beside, and perpendicular to this work by Doran, Swords gives us some of the same stalagmite/stalactite forms, but in carpet fibre (<i>In a Cheddar Cave</i> 2009): an uncanny coincidence or shared sensibility?</div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf_DaBJracUrhzDUVDp9wpGzLsYS5AGKSzv-uO4i32I-eaoZo0i9N-AOg58c3qJzqsJcQv9AyRFJDYI7X80LDNe2lmvkmuhbBA_vY3iTIalq9V0bJ_eu-80NrVOKkmoOV4yg2MLB2KGCY3/s1600/9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf_DaBJracUrhzDUVDp9wpGzLsYS5AGKSzv-uO4i32I-eaoZo0i9N-AOg58c3qJzqsJcQv9AyRFJDYI7X80LDNe2lmvkmuhbBA_vY3iTIalq9V0bJ_eu-80NrVOKkmoOV4yg2MLB2KGCY3/s640/9.jpg" style="cursor: move;" width="640" /></a></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Paul Doran, <i>A Guston cloud hangs over my head</i> (2010), wood acrylic paint, linen and mirror plates.</span></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Since 2009, Doran has worked solely in acrylic. The first acrylics look like they want to grow up to become oil paints. The paintings that immediately followed the switch from oils to acrylics are rich, not primary (See above: <i>A Guston cloud hangs over my head</i>). His more recent acrylics are less self-conscious, removed from oil painting’s ambition. </div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Just after hanging Doran and Swords' work at TBG&S, Robert Armstrong pulled out a 'bottom line' quote by Robert Hughes, from the hundreds of quotations that surfaced on the internet following the sad news of the art critic's death on August 6th 2012. The quote says so much about art, but reads like it was written for Doran and Swords: "In art there is no progress, just fluctuations in intensity”.</div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
In a time when contemporary art is afraid of its human reflection, painting offers a mirror. What can be gained from looking and understanding the relationship between Doran and Swords and their works, is a belief that "fluctuations of intensity" is progress, and can only be achieved through the shared synergy of verbal and visual insights. JAMES MERRIGAN</div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Notes</div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">[1]<span class="Apple-tab-span" style="white-space: pre;"> </span>Donald Kuspit essay ‘Collage: The Organizing Principal of Art in the Age of Relativity of Art’ (1983), from Donald Kuspit’s collection of texts <i>The New Subjectivism: Art in the 1980s,</i> Da Capo Press, New York, 1993, p. 512.</span></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">[2]<span class="Apple-tab-span" style="white-space: pre;"> </span>Ibid. p. 519.</span></div>
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">[3]<span class="Apple-tab-span" style="white-space: pre;"> </span>Ibid. p. 508.</span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<br /></div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-size: x-small;"><br /></span></div>
</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="" style="clear: both; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
</div>
<div class="" style="clear: both; text-align: left;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
</div>
</div>
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="360" mozallowfullscreen="mozallowfullscreen" src="http://player.vimeo.com/video/48081656?color=e0d72b" webkitallowfullscreen="webkitallowfullscreen" width="640"></iframe>
Fugitive Papershttp://www.blogger.com/profile/12403798923461099192noreply@blogger.com0tag:blogger.com,1999:blog-2675332315389123119.post-52734451168555624152012-08-12T01:05:00.000-07:002012-08-28T02:46:58.286-07:00A Premise for 'Making Familiar'<div>
<br /></div>
<div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<div style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;">
<div style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;">
<img border="0" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbS2jvGJahzOCntpk2vDPT0FR-9mfNEJPASKlzgAR0nMfUBBJgCmT7OtHWAsSjxReHF2ZDTWIsL2pus1fbrhpikV1PHpbvh6Fsw5QKcFvRQEAZ3LTzHlq0GydFWdWMUjCFqhHkHBc11MKG/s640/large.jpg" width="640" /><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;">The Academy of Music, 14th Street, New York City, where Philip Guston and David Reed went to escape the </span></span><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;">Studio School to see Sergio Leone’s <i>For a Few Dollars More. </i>Today, this site has become part of New York University.</span></span></span></div>
</div>
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
</div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: center;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i><br /></i>
</span><br />
<div style="text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><i>Making Familiar</i> is an exhibition that spotlights the work of two painters each week. Over the course of six weeks, twelve artists in total will be paired together, both to exhibit and to discuss their work in the setting of the gallery. The exhibition grows each week, starting with two artists, and ending with twelve artists’ work displayed on a salon wall in the gallery.</span></div>
</div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The exhibition was conceived via the biographically intimate essay ‘Soul-Beating’, by the American artist David Reed, who had the strange aspiration to be a “bedroom painter.” In his essay, Reed briefly describes escaping “the Studio School to go to the old Academy of Music, a huge ruin of a movie theater on Fourteenth Street [New York], to see one of Sergio Leone’s spaghetti westerns, <i>For a Few Dollars More</i>,” with his idol, the iconic American painter, Philip Guston.</span></div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">A pivotal aspect of the exhibition is the weekly artist conversation, framed by a conversation area that will be marked out in the gallery by domestic paraphernalia: couches, television etc. The weekly conversations between the paired artists will be open to the public, and will take place each Tuesday during the exhibition. These conversations will also be recorded and screened in the gallery .</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">‘Making Familiar’ is a play on the phrase ‘to make strange’ – to not talk due to being uncomfortable. The title of the show also refers to the everyday activities of the artist that don’t include the act of painting: Anselm Kiefer admitted once that he is at his most creative when washing dishes. As curators, Robert Armstrong and James Merrigan will guide the discussion along, questioning, observing and familiarising themselves, and the audience, with the artists’ thoughts on painting, or washing dishes.</span></div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The artist conversations are grounded in the suggested informality of the David Reed and Philip Guston trip to the cinema. What was said between the two artists? Was painting even discussed?</span></div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">This is an 'active' exhibition that addresses painting at the site of the familiar, offering a chance to experience peer painting practices side-by-side, and revelations on the processes and 'lived' stories that define their working methods.</span></div>
<div class="separator" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="" style="clear: both; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;">
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">[1] David Reed, 'Soul-Beating', Art Journal: [http://artjournal.collegeart.org/?p=59]</span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
Fugitive Papershttp://www.blogger.com/profile/12403798923461099192noreply@blogger.com0