“…Copperwhite’s paintings follow a logic of their own, they are recycled and they grow out of one another by remaining susceptible to the materiality of paint. She often interjects with obstacles that she brings to bare on the paintings in a way that encourages them to define their autonomy. This approach allows for accidents to happen yet these accidents are staged purposefully to allow the paintings to escape from her grasp. In this regard they have a character and vibrancy that evidence the pursuit of an epiphany, whereby the painting surprises the artist as often as the artist exacts change upon the painting. She is a painter who is fully taken up with the act of painting and the materiality of paint.
A latent interest in physics also defines the work, more specifically the speed of light in vacuum as a universal physical constant. The paintings express an interest in light, in colour and in the interlude between what the observer looks at and what is being observed. The speed of light as a concept suggests that by the time you see something, it’s not what you are looking at anymore, as though a buffer zone exists between the physical and the optical. This phenomenon represents a slippage, or a space in between that can’t be accessed and denial of access to such a space prompts the imagination into vistas that are exponentially larger than any possible truth. Perhaps this proposed space does not exist at all. The pursuit of such a place engenders possibilities, and these possibilities diminish through discovery. This example is analogous to all human attempts in grasping at truth.”
Extracted from ‘World is Suddener Than We Fancy It’
– Ingrid Lyons is a writer and artist based in Dublin