“The seductive attraction of the painting lies in their extrovertly taciturn quality, and by the way in which the gutsy, even aggressive application of colour is countered by the sensitive, even delicately tentative, scoring of the paint in all its precise and potent hues. Rare is it to see paint being worked so sensually and yet often so brutally. The juicy colours push and pull, and the eye is caught in an impossible impasse – are we gazing onto boundless unlimited and infinite space, or are we peering into claustrophobically constraining, sealed and hermetic compartments from which nothing can leak? Can we simultaneously do both?Ní Mhaonaigh’s involved and tactile approach – with its implications of cathartic release and metaphysical intensity – generates images that, packed and agitated as they are, ultimately function as investigations into the sublime, Kant split his concept of the sublime into three categories, the petrifying sublime, sometimes accompanied with a certain dread or melancholy; the noble sublime inspiring quiet wonder; the splendid sublime, pervaded with beauty. One need only gaze at Ní Mhaonaigh’s paintings – packed complex, luxurious, transfixing – to see a simultaneous evocation of not one but all these facets of the sublime, held perpetually in tension and in unison.”
– Pádraic E. Moore, extract from; Sinéad Ní Mhaonaigh (2010)
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(b.1971), lives and works in Dublin.
“Every painter recapitulates the history of painting in his or her own way,” wrote Gilles Deleuze in his Francis Bacon study. It is a deceptively simple way of wording a complicated insight about being a painter and the labour it takes to make your practice count.
Geraldine O’Neill works through the history of painting rather like a dancer who goes hill-walking on Everest and discovers a panoramic base camp peopled by artists, scientists and philosophers. It is about time. About space too. Above all, it is about painting from the skin, meaning that technique matters and that craft must be conceptualised before it appears as art.
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(b. 1973) lives and works in Berlin.
“Whereby the term “extension of drawing”, already both the title of a catalog as well as a solo exhibition of Ulrich Vogl‘s, can be viewed as the leitmotif of the artist’s work, in recent years the artist’s focus has nevertheless actually been on “drawing and light”, on working with projections, shadows, movement, and drawing. Many of his precisely thought-out conceptual and experimental works are in constant motion despite exuding an almost contemplative tranquility. The individual works create a space all of their own, with a likewise individual temporality, which “creates room” for the personal experience of the given viewer. The works cast an enchantment, all the while never concealing the simplicity of their genesis. A good example of this is the piece entitled Film, in which light falls through a spinning hamster wheel and thereby casts varying shadowy forms onto the wall. The projections are reminiscent of early movies, despite being void of concrete imagery. Although the creation of the simulacrums is played out before the eyes of the viewing public, one is nevertheless drawn into an imaginary film. The result is the creation of invigorating latitudes, free spaces, within one’s mind for a film of one’s own.”
-extracted from Berlin Artists’ Statements, ed. Christoph Tannert, 2014
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