I went to visit the Kerlin Gallery yesterday and I was curious as to what artists they represent so I looked on their website and Phillip Allen is one of them. I just love his work. Phillip Allen’s (British, 1967) paintings depict an imagined space which is always framed at the top and bottom by luscious rosettes of thick paint that allude to the idea of a paradisiacal garden but also to paint itself and its sculptural qualities. From the empty centre of each painting springs a form or pattern or many forms and patterns that play with colour and perspective suggesting a depth of space and a fantastical architecture that is at once intriguing and playful.
Saturday, November 26, 2011
Monday, November 21, 2011
Sunday, November 20, 2011
DAVID NOONAN
DAVID NOONAN fuses image with image in evocative and uncanny treatments of materials, objects and figures. Noonan reworks archival photographs of people, places and events to produce an almost cinematic sense of shared time and space. His paneled sculptures, bleach paintings, collages, silk-screens, wallpapers and films intrigue and disquiet with their compelling convergence of myth and realism. Noonan’s work explores the inner workings of memory, connotation, and sentiment. His amalgams of documents and textures resonate with a psychic force, producing fictional histories and imaginary landscapes that provoke, disquiet, and charm.
Thursday, November 17, 2011
Leader of the pack!
Clyfford Still was a leader in the first generation of Abstract Expressionists who developed a new, powerful approach to painting in the years immediately following World War II. Although not as widely known as some of his New York School contemporaries, Clyfford Still was the first to break through to the new and radically abstract style devoid of obvious subject matter. Still was also considered one of the foremost Color Field painters - his non-figurative paintings are non-objective, and largely concerned with juxtaposing different colors and surfaces in a variety of formations. Still's progression to purely abstract painting in the mid-1940s predated and influenced a similar move to non-representational art by his Abstract Expressionist contemporaries.
Sunday, November 13, 2011
Eoin Llewellyn
Eoin Llewellyn currently works between Ireland and Berlin, Germany. In 1998, Llewellyn earned a degree in Fine Art from the Dublin Institute of Technology, which is where I studied.
Over the last fifteen years his work has explored numerous aesthetics and artistic philosophies, drawing on close study of the works and techniques of certain painters from the past 500 years. His initial interest in neo-expressionism led to his fusing large paintings with installation works which explored similar themes to give a richer experience to the viewer.
Over the last fifteen years his work has explored numerous aesthetics and artistic philosophies, drawing on close study of the works and techniques of certain painters from the past 500 years. His initial interest in neo-expressionism led to his fusing large paintings with installation works which explored similar themes to give a richer experience to the viewer.
Saturday, November 12, 2011
Revok
I found this great video (via Graffuturism) for Revok's upcoming Solo show in Hamburg Berlin next Month. The show titled “Triumph and Tragedy”.
REVOK / TRIUMPH & TRAGEDY / VICIOUS GALLERY / DEC. 3RD from WWW.REVOK1.COM on Vimeo.
Friday, November 11, 2011
Thursday, November 10, 2011
Wednesday, November 9, 2011
Group show
This is a new painting for a group show entitled 'MIDDLEGROUND' I will be taking part in. It will be showing at the NGG Gallery, 12 East Essex Street, Temple Bar on Dec 1st.
'Windows'
Oil on panel
25x35cm
'Windows'
Oil on panel
25x35cm
Monday, November 7, 2011
Jack Frost
I woke up to a frosty morning today...bbbrrrrrrrrrr
This is such a great little cartoon about Jack Frost! (1934)
This is such a great little cartoon about Jack Frost! (1934)
Friday, November 4, 2011
Thursday, November 3, 2011
Tuesday, November 1, 2011
Eamon O’Kane's paintings
Irish painter O’Kane employs both meticulous quasi-realism and expressive, gelatinous abstraction in depicting half-imagined architectures. Hinting at the ghosts of their makers as much as the perceptual itinerary of their inhabitants, O’Kane’s new series fuses Modernist glass, steel, and concrete archetypes into psychologically and visually lush inversions of time, space, boundaries, and histories.
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