The blue canvas with the interesting patina and abstract clouds has been drying since December and is now ready to be worked on. I think my paintings need time between sessions to assimilate themselves and decide where they want to go. I have to be patient with them. I added a red shape inspired by a smaller canvas, and things were going well until I got caught in a painting pothole and couldn't remember how I made the original pink. I am an intuitive painter, and colours often come about by accident. I might have had some blue left on the brush when I start mixing that pink. So it is impossible to recreate the exact colour, even if I could remember the amounts of paint I took from each tube.
I distracted myself with a blue wash of oil paint that travelled alongside an abstract Jacob's ladder for a while before making an impact on the smaller canvases, laid out underneath the easel to capture any runaway drips. I often place canvases under wet paintings. It's a way to capture the energy of those tiny impact marks, although I don't always keep them. This practice came from the early days in my career when I had to save on paint and was often painting in spaces where I wasn't meant to destroy the floor too much. In the end, the paintings in the studio restored my faith in the Goddess of Creativity and the God of Chance. I feel inspired to keep going.
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Routes are created by choices, taking you to known spaces or surprises. Paintings take many paths. When I start to work on a new canvas, I have no idea where it will go, literally and figuratively. So I take any chance to travel and bring my work with me in whatever form possible, like these paintings I started in Ireland and brought to Italy. I like the (long!) drive to Italy - it’s a great time for …
I don't think you could or should explain any piece of art entirely because it cuts it off from alternative interpretations. What I want to do here is talk about the things that happened around it, the things that pushed it into what it became. It was the largest oil on canvas I painted during my time in Berlin. The video was filmed in my Berlin…
A short video discussing the inspiration for "New Year's Eve Berlin (After Whistler)", one of the large oil paintings I have been working on during my time here in Berlin.
I just walked by this large diptych in a Berlin underground station. I think it reflects that idea of art being all around us. Those gorgeous chocolate browns mixed with cappuccino greys sitting next to its silent neighbour, encased by a smoky green...
Being down the docks in a hot country is like being in a giant open air gallery. It's buzzing with art DNA, sun bleached surfaces, patinas of decay and man made linear marks that are right at home in an abstract painting.
It probably sounds a bit iffy when I say that something came to me in a dream but last night something did. When I walked passed my paintings this morning an image I dreamt about came back to me. I ran over, took up a dirty oil paint brush and sketched it on the back of a canvas. Later, over coffee, I sketched the motif a ...
This is the last of the herringbone linen I got from an old mill in Germany. I first used it in this series of small oil paintings in 2010. I have been wanting to stretch it up for years but somehow never got around to it so I brought it to Italy...
A few weeks ago I worked with Johnny Bugler to create a set of prints that I could paint on to. The idea came to me when I found some etching proofs I had worked on in 2007. I see these etchings as a background, an elaborate canvas. They are an attempt to create the essence of a bit of linen that was laying around the studio for while, picking up colour debris and studio DNA, before being stretched up and becoming a painting. Working on the etching plates...
Paintings are messers with minds of their own. You bring them somewhere, tell them to stay, and then they change direction and become something completely different. They can be stubborn, unhelpful, unyielding, sometimes shy, sometimes grandiose, often self-destructive. Listening to….
It's mad being a painter and at times it’s maddeningly slow. I brought a bunch of new canvases and spent the past while building up layers to get them into my “pool of pieces on the go”. I don’t know yet, but right now it seems like this process might...
When flames and snakes are your neighbours, they can't help but be part of the story. This rough, heavy-duty cotton canvas has been in my studio for probably eight years. It was unprimed, so I spent months applying thin layers of oil paint before it went anywhere. I like the dryness that comes from all that soakage and the roughness of the surface. There were wildfires near the sea, and you could see the glow of orange at night in the distance. I was grappling with a shape similar to the one I am painting here back in Ireland. I tried it again when I got to Italy, but it wasn't until I saw the shape as a flame that it unlocked itself. On some of the smaller landscapes, these flames appeared …