Kevin Kavanagh is pleased to present, Stephen Loughman’s new series The Fisherman’s Widow, which takes its name from a print found on the wall of the room of one of Jack the Ripper’s victims. Each painting takes its source a “grab” from a film (Dressed to Kill, Klute and from the Life of the Marionettes). These images come preloaded with associations embedded within the narrative thread is the prelude to a violent act. For Loughman, the act of painting these images functions as a distilling method which slows down and fetishes what is only a few seconds of film time. The titles of the works are taken from the scripts of the respective films.
“Stephen Loughman visually reinforces that strangely seperate quality in which we experience our lives as part of some other narrative. We come to life in these landscapes which have been taken from realities elsewhere, versions of ourselves that have pre-existed us in imaginary form, in another medium, a cross – reference, fictionalised somewhere in the past by culture and commerce.”
Text by Hugo Hamilton, taken from Nothing is Real, Stephen Loughman & Mark O’Kelly (2008)