Saturday, February 6, 2016


Finished painting, 'Ashes,' 2016
 A bread and butter painting of a beloved basset hound called, Ashes. This will be sent to the United States. Acrylic on a 20cm circumference canvas. I dont think the camera has done it justice, there is gold paint throughout the portrait which really makes it stand out.

Tones and such set.

Sunday, January 31, 2016

What We Call Love: From Surrealism to Now

Last week I made a pilgrimage up to IMMA to see its current exhibition What we Call Love: From Surrealism to now.
Excerpt from the catalogue:
'Love in the 20th Century, according to the poet Arthur Rimbaud, had to be reinvented. Nowadays, in a world full of crisis and conflicts, tensed between opposite ideals, and submitted to increased individualism and intense consumption, love is seriously threatened and regularly challenged. Paradoxically, love in the 21st Century has never been so linked to individual identity and happiness.
What We Call Love explores how the notion of love has evolved within the 20th century. How have seismic sociological changes concerning sexuality, marriage and intimacy, alongside developments in gender issues, affected the way we conceive love today? How does visual art, from Surrealism to the present day, deal with love and what can these artistic representations tell us about what love means in our contemporary culture?
 Drawing on contemporary sociology, neuroscience and of course art, What We Call Love sheds some light on these questions. While we cannot give a final definition of “what is love” we can examine how artists have represented it. Presented in three chapters, the exhibition draws on Surrealism’s idea of love as “amour fou” (crazy love), new visions of love which emerged after the 60’s and the often problematic concerns of contemporary love.'

'The Couple', 1956 by Meret Oppenheim
'La Robe de Marles,' and 'Le Divorce,' by Sophie Calle

'Fumillienraum (Family Room), by  Miriam Cahn

Works by Louise Bourgeois, both titled, 'Couple' made in different years.

'The Kiss,' and 'Lover Snakes,' by Dorothy Cross

Another Louise Bourgeois

'Incommunicado,' by Mona Hatoum

'You Whom I Love a Thousand Times,' 2014 by Annabel Daou

Text and installation by Rebecca Horn

Tracey Moffatt LOVE Trailer from Napier School of Computing on Vimeo.

A video piece by Tracey Mofatt, titled, 'Love,' one of my favourite pieces in the show. this is a short trailer from the film.

I also saw an exhibition by Grace Weir.
'Forgetting,' by Grace Weir

Some other works from the Permanent Collection..

by Kiki Smith

'Anabusis,' by Hughie O'Donoghue

'Three Steps Toward the Sea,' by Edward Allington

We Are Friends...

In the age of Social Media we are connected to everyone, everywhere, 24/7; Constantly updated. Yet we have never been so isolated, so lonely.

'So Lonely,' 2016 (version 1)

'So Lonely,' 2016 (version 1)

Saturday, January 2, 2016

Broken Pieces

'I love your broken pieces. I won't try to fix you.'
Final piece
Ceramic plate and image transfer



Saturday, December 26, 2015

Some notes on 'Daphne,' 2015

'Daphne,' 2015
Wood, vintage photo and gold leaf.
I made this piece before a moment of serendipity when I picked up the book, Myths, Dreams and Relgion, and coming across the chapter on Daphne and Metamorphosis. Below are the highlighted notes that I will use if I have to write a statement or essay about the piece or hopefully body of work.
I always find it difficult to some up a piece in a statement.  Hopefully the notes will help the view get a clearer picture of what may have been going through my mind when making it.
'Daphne was a nymph, a daughter of the river god Peneius. As a result of a boasting match among the gods, Apollo fell hopelessly in love with her. At the same time that Cupid's golden arrow shot Apollo full of love, one of Cupid's lead-tipped arrows pierced the heart of the nymph. The result was that she wanted nothing to do with love. She persuaded her father to allow her to remain unwed. Neither knowing this nor caring, Apollo pursued Daphne, trying to persuade her with talk of his great worth, but she wanted nothing to do with him and ran while he tried to woo her.
This merely made Apollo more determined, so he pursued her and gained on her. When he was about to reach her, she pleaded with Peneius to help her, to let the earth swallow her up or to change her form. Peneius obliged. Daphne was turned into a bay laurel tree to escape Apollo.' 

 Some notes from the chapter, 'Daphne, or Metamorphosis,' by Normon O. Brown, from the book, 'Myths, Dreams, and Religion,' edited by Joseph Campbell.

-The symbolic equation Girl=Tree; the symbolic equation Girl=Phallus. The virginity is virility; the virility is virility. We harden like trees. 
(O. Fenichel, "The symbolic Equation Girl = Phallus." Collected papers.)

-Promising immortality. or awaiting resurrection. not dead but sleeping. the maiden is not dead, but slept. The tree is the sleeping beauty. She made herself a bed in my ear and went to sleep. And everything is her sleep.
(Matthew 9:24. Rilke, Die Sonette an Orpheus, I, No. ii)

-The reconciliation of spirit and nature; the opposition of sexuality and sublimation overcome. When our eyes are opened, we receive that in sexuality the object is not the literal girl; but the symbolic girl, the tree. It is always something else that we want. The object is always transcendent.

-Metamorphosis into a tree. The sublimation is at the same time a fall, into a lower order of creation; an incarnation. The way up is the way down. The sublime Apollo is desublimated, descends; in love with human nature he takes on human, all-too-human form-the hound of heaven, ut canis in vacuo leporem cum Gallicus arrive-to be united with the virgin. And what she finally gives him is wood, the maternal material. The Virgin is his mother; Osiris, Adonis, born of a tree. In her womb he puts on wood; in her womb he is surrounded with wood, crowned with the laurel, embraced by the Virgin.' (Ovid Metamorphoses I, l. 533. Ovid Moralise I, ll. 3245-3250)

-The lady and the lover are one tree. 
(J. Onimus, "La poetic de l'arbre," Rev. Sciences Hum., No. 101, p.107. Ovid, Metamorphoses, VII, I.813)

-The metamorphosis of sexuality: sublimation.
The Gods that mortal beauty chase
Still in a tree did end their race.
(Rilke, Die Sonette an Orpheus, I, Nos. i-ii. Ovid, Metamorphoses, I, ll. 552-553.)

-..a golden crown. The alchemical gold of sublimation. the green girl is a golden girl.
(goethe, faust, I, l.2039)

 -Ever-green is ever burning. Daphne a fire branded; the laurel is full of fire. The branches of that tree which antiquity dedicated to the Sun in order to crown all the conquerors of the earth, when shaken together give out of fire. The laurel is the burning bush, the Virgin Mary;

-May she become a flourishing hidden tree. (Yeats, "A Prayer for my Daughter.")

-What she finally gives him is the wood of the cross.
The gods that mortal beauty chase
Still in a tree did end their race.
In a tree or on a tree. sublimation is crucifixion. Even so shall the Son of Man be lifted up.
There is a Coptic tapestry fragment from a fifth-century tomb showing the tree-girl, naked and sexed, handing to Apollo a flower which is a cross. Ovid Says osculate dat ligno. 
He Kisses the cross.
(In the Louvre Museum. Ovid, Metamorphoses I, l. 556.)

-She is his mother; the Great Mother; the naked goddess rising between two branches.
(E. Neumann, The Great Mother, pp. 241-256)

-Metamorphosis into a tree. A fall, into the state of nature. The spirit, the human essence, hides, buried in the natural object; "projected." 
(Schiller, "Die Gotter Griechenlands.")

-Daphne hath broke the bark, and that swift foot
Which th' angry gods has fastened with a root
To the fix'd earth, doth now unfettered run
To meet h'embraces of the youthful Sun.

-The final metamorphosis in the humanisation of nature. It is a question of love: the transformation of the bear into a Prince the moment the bear is loved. The identification is a change of identity; the magic is love.
(cf. F. Yates, Giordano Bruno and the hermetic tradition, P. 127.)

-A Girl
Ezra Pound

The tree has entered my hands,
The sap has ascended my arms,
The tree has grown in my breast--
The branches grow out of me, like arms.

Tree you are,
Moss you are,
You are violets with wind above them.
A child- so high- you are,
And all this is folly to the world.

-A spiritualisation of nature; an invisible spirit in the tree.

-The tree is the teleological end, the eschaton (end of the world, end of time). We shall all be changed, in the twinkling of an eye. Resurrection is metamorphosis, from the natural to the supernatural, or spiritual body. It is raised a spiritual body. Casting the body's vest aside. The harps that we hung on the willow trees, the organs, are our natural bodies, the sexual organisations.
(Methods in Rahner, Greek myths and Christian Mystery, p.137)

-The supernatural body reunites us with nature; with rocks and stones and trees. It gives us the flower body of Narcissus, or the body of Daphne. Love's best retreat. It is the resurrection of nature in us; nature transformed into invisible spirit. As Rilke says, Earth, is that not what you want: to rise again, invisible, in us. 
(Rilke in Heller, the Disinherited Mind, p. 169)

-Every poor schizophrenic girl is a Delphic priestess; or a Daphne, saying "I am that tree." "Thats the rain-I could be that rain. That chair- that wall. its a terrible thing for a girl to be a wall." It's a terrible thing for a girl to be a Delphic priestess. In the cave the priestess raves: she still resists the brutal god, to shake from her hapless breast his breast; all the more his pressure subjugates her wild heart, wears down her rabid mouth, shapes her mouth into his mouthpiece.

-One tree, in kaleidoscopic metamorphosis.
(Wordsworth, Prelude, VI, ll. 637-639)

Wednesday, December 23, 2015

Abridged 0 – 43: Lethe

I had my piece 'I forgot her,' published in Abridged 0 - 43: Lethe edition, it accompanied the poem, The Myra Road Remembrances by Damien Smyth. Below is the statement for the open call.

We are what we remember. And what we want to forget. We no longer feel comfortable with our own memories even though we say we have no regrets. We see people as reinforcement and justification. The end justifies the means and the present is all that matters. There is always a need to celebrate and memorialize. The selfie is perhaps the endgame of this: ‘See I’m still here.’ We arbitrarily signpost the past as if 10 years is any more relevant than 9, or 99 less significant than 100. It’s capturing the past, cutting off the rough edges and ribboning it: selling it to others and ourselves. Society rounds us up in a collective memory for easy measurement and we cling to tradition like a rock as if it wasn’t something we define by the present. Each world we build we surround by a Lethe, a border-river keeping out the things we’d rather forget we’d done. Scorch the earth and flood the plains. Image Jennifer Garza-Cuen.

Monday, December 7, 2015

Coco Bean

A bread and butter work Painting; I was commissioned to do a painting of someones dog for a Christmas present, unfortunately I was not able to meet the dog for this painting so it was a bit harder to connect with the subject. I didn't get to know the personality or take my own photos, so hopefully I captured the essence of the dog through the colours and such.
Despite all this I think it came out well and will hopefully be a nice surprise for the receiver on Christmas morning.
Acrylic on a 10 x 10 canvas.

The Final Painting

 The base drawing and The underpainting

Getting the colour down and body finished


Original Photo