to Jan 26

Damien Flood: The Figure in the Carpet

Damien Flood
The Figure in the Carpet 
November 29, 2018 - January 26, 2019

Opening reception November 29, 2018, 6 - 8 pm

Green On Red Gallery is delighted to announce a solo exhibition of new paintings, The Figure in the Carpet, by Damien Flood and the launch of a new hard-back monograph on the artist of the same title. Flood has marked himself out as one of the most distinctive and original artists of his generation since he first exhibited in the gallery in 2010. Flood's paintings defy easy definition and reward repeated and extended viewing as they slowly yield up their half revealed, half concealed figures and narratives. The eye is led along a dotted line or insistent painted edge before it ends up in a sumptuous thick build-up of paint, of pattern or of nothingness, akin to the floating world of figures and forms in a Francis Bacon. The pressure of the descriptive force is equal to the lack of a clear and easy resolution.

‘ Quickly, however, it became apparent that where meaning came away it came away in coarse and brittle fragments. It became apparent that ‘meaning’ was shards of rockface whose edges never realigned.

The feeling of these shards is the feeling of gums crowded and made sore by too many teeth. ’

The Figure in the Carpet, Damien Flood 'Organelle' by Sue Rainsford, pg 12

The Figure in the Carpet takes it’s title from the book of the same name by Henry James, first published in 1896. Told in the first person; the narrator meets his favourite author and becomes obsessed with discovering the secret meaning or intention of all the author's works. The author informs him that most critics, along with him, have missed the point, his secret ‘like a complex figure in a Persian carpet’. ‘The Figure in the Carpet’ has become a short-hand or idiom for the ‘key’ to understanding a writer’s work. Yet the story in which the idiom was born, refuses to open itself up to easy interpretations or analysis. After the story was published Jame’s contemporaries set themselves on a quest for the Figure as an identifiable physical entity. Similarly Damien Flood’s paintings search for an understanding. They form a record of a myriad of thoughts and ideas, piecing together a new world -one that tries to understand the world we live in. This new painted world is not easily discerned, the figure is fleeting and never fully whole.

In ‘Halves’ (2018) the bare linen surface creates a duality between the luscious concentrations of painted fragments and the flesh-like scooped mounds of paint. This work, like many in the show, conjure up the feeling of the artists own unease with the world around him. Where the viewer is set and what rules the artwork follows are up for debate. A draped form balances on a shard of sky, leaning out uneasily toward the viewer. It’s hand curls at the bottom of the canvas, seemingly trapped within the pictorial frame, while the interjecting black stripe pushes through to the canvas wall, dividing the picture plane.

A story about understanding a writers work that people do not fully understand, which in turn, is possibly the key to understanding all of the authors work. The duality within this story is paralleled within Flood’s work. The paintings teeter on the edge of edges, pulling at an image only to let go before it becomes concrete. Ambiguity and understanding are interchangeable, a definitive meaning is not the point. A core interest of Flood’s is how we see and read the world around us. This is mirrored on the canvas through different painterly approaches and the use of illustrative lines. Each approach pushes against the other for pictorial dominance. Flood ́s arrangements of disparate fragments seem to illustrate the futility of illusion, emphasising instead the aspect of painting through multiple stylistic variations, each of these conveying distinct and often conflicting ideas and ideals.

'Flood’s paintings — in some ways like Albini’s attitudes and effects — are questing experiments in achieving such transformative, destabilising encounters. There is ‘rupture’; there are ‘cuts’ and there is a necessary commitment to ‘mutation’. These paintings are the vigorous outcomes of urgent, intense imaginative processes, and the products of a insistently independent artistic spirit.'

The Figure in the Carpet, Damien Flood " Rawness and Rupture: Damien Flood " Declan Long, pg 32

The large scale painting Neighbour (2018) features a Bacon-esque figure twisting through the raw linen picture plane. It’s torso appearing to be cajoled into the space by a shard of sky, almost teasing the figure with the world outside. The picture plane is divided by flat washes of colour over the bare linen. The left blue wash featuring a picture seemingly held in place by a thumb print, creating pictures within pictures. Shimmering yellow ledges hover through the space, framing a painterly rhythm to the work. While in ‘Alcove’ (2018) elements jostle for perspective dominance on a similarly bare linen canvas. Awkwardly painted jars sit uncomfortably at the bottom left of the canvas, destabilising the pictorial depth -the jars contents and purpose unknown. Behind them, thick impasto flesh-like leaves jut out underneath the brown wash wall bringing a depth to the scene while adding to the overall feeling of ritual and happening prevails over the scene.

In the context of the exhibition the title also alludes to the act of seeing imagined forms and shapes in the everyday world around us. Silhouettes of objects creating a figure, intricate designs in a carpet conjuring up far off lands or faces appearing in hedges in low yellowing street light. The arrangements of disparate fragments within Flood’s paintings seem to form a similar function, allowing for multiple readings of new forms and tangential journeys. He uses a mixture of visual languages and motifs comprising of abstract forms, outlines, vases, hands and torso’s that reoccur throughout the work. Whereas some of these motifs bear a figurative semblance that allows for a certain degree of recognition, still others remain exempt from any obvious traceable traits and thus removed from any context. These primarily abstract pictorial marks appear to be puzzle pieces on a plain, floating in a void, loosely recalling a former composition or memory, a patch of paint, or conveying a fleeting impression of reality. They are left for the viewer to complete their narrative or meaning. This is apparent in the large raw linen painting ‘Cabin View’ (2018)(illustrated). In this work twisting twig-like curls of paint lead the eye through the fragmented picture plane. A harlequin patterned vase ornately floats behind the central panel of colour, alluding to a depth within the canvas. The painting teases the viewer with many different visual orientations, interior and exterior merge into a series of movements. The linear elements map out many visual possibilities, heads, arms, mountains, fluctuate within each one of the disparate lines. Everything is permitted but nothing is true.

Artist's talk and events for the exhibition will be announced in early January 2019.

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to Nov 24

Mark Joyce: Solas Salach/Dirty Light

Mark Joyce's new paintings explore anomalies and phenomenological strangeness of our optical experience. Improvised compositions on raw linen explore light as a physical entity. The motifs are drawn from scientific and philosophical models, but without that vantage point or privileged field of vision. The works explore the glitches and gaps in our " enlightenment ". With titles such as Dirty Neon ( 2018 ) these paintings reference an urban light, that violent electrical discharge which passes through the aethers to keep out the ancient darkness. Maintaining a tension between surface materiality and pictorial illusion, the relationships between colour, form and ground appear as both established and in a continuous and dissonant flux.

For more information on the artist and his current and past exhibitions do not hesitate to contact the gallery at +353 87 2454282 or at or visit us at Green On Red Gallery, Park Lane, Spencer Dock, Dublin 1. Mark's most recent publication Bee Loud Glade Mark Joyce, Yale NUS College, 2015 is also available at the gallery. Mark Joyce's Newtonians ( 2008 ) paintings will be exhibited in the forthcoming Prism exhibition at the Glucksman Gallery, UCC, Cork from Friday, November 30, 2018.

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to Oct 13

Tom Hunter: Figures in a Landscape

Green On Red Gallery are proud to bring Tom Hunter's, Figures in a Landscape to Dublin. Join us Friday 7th September, 2018 from 7pm to hear Tom discuss his inspiration and process. Anyone who has heard Tom speak before will know he's a generous orator and it's not to be missed. 

"Figures in a Landscape is a personal odyssey which transports the viewer through a world imbued with myths and legends. On this magical journey, from the hillsides of the West Country to the Marshes of Hackney, the viewer encounters ancient gods, goddesses and mythical monsters which inhabit the landscape and battle for supremacy between the other worlds and the here and now.

This body of work was inspired by Thomas Couture’s Romans during the Decadence(1847) where a scene of debauchery is depicted in the Ancient world with mortals and immortals inhabiting the same domain. The figures and forms painted in this scene seamlessly transform between statues, humans and ancient gods allowing the spectator to float between Earth, Hades and Mount Olympus. Taking this concept into my own ancient English landscape I have created a series of works which interweave childhood memories with contemporary experiences. The figures that inhabit these images shift between statue, mythical forms and people, transporting us through time and space, connecting us to ancient worlds, half-remembered myths and magical encounters. 

My voyage starts in the Dorset village where I grew up, hearing tales of drunken revelry with couples gathering for May Day to fornicate beneath the naked male giant of CerneAbbas to imbue fertility on body and field. As I move through the landscape I have encountered many other figures and forms, sometimes as dream-like glimpses from the back of my parents’Morris Traveller, others from train windows as I flash through the countryside. These ancient megalithic chalk figures straddle the hilltops and map out the landscape as the constellations map out the night skies. They look down upon the mortals, nymphs and Poseidon in his underwater grotto and waterways. Intermingled with these are childhood memories of visiting Crystal Palace where monsters rise from the primordial swamp and gateways to Hades invite us on a Victorian version of Journey to the Centre of the Earth. 

These childhood fictions and myths interweave with references to my home in Hackney. Memories of balmy summer evenings spent swimming with lovers in luminous pools dissolve between myths of Lugus, the ancient Celtic God of the River Lea. This vision comes to an end at Winterville, where the mid-winter solstice pagan festival becomes distorted in an Olympian mountain top landscape. Here ancient and contemporary narratives clash and shatter into a dystopian consumerist nightmare."
- Tom Hunter, June 2018

Image: Tom Hunter, Cerne Abbas Giant 2018, Silver gelatin print, 16 x 20 in -40.6 x 50.8 cm Ed. of 7 

Image: Tom Hunter, Cerne Abbas Giant 2018, Silver gelatin print, 16 x 20 in -40.6 x 50.8 cm Ed. of 7 

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to Aug 17

New Beginnings

June 28th - August 4th, 2018
Wine and canapés reception : Thursday, 28 June, 6-8pm

Kirstin Arndt 
Alan Butler
Damien Flood
Caroline McCarthy
Emma Roche
Nigel Rolfe
Aoife Shanahan
Xavier Theunis

Green On Red Gallery
 is pleased to announce its next exhibition New Beginnings opening at the gallery on Thursday, June 28, 6-8pm. All welcome. The exhibition will continue until August 17, 2018.

The exhibition includes new work by gallery artists and artists showing in the gallery for the first time, including the work of Xavier Theunis, Emma Roche and Aoife Shanahan along with gallery artists Damien FloodNigel Rolfe, Caroline McCarthy and Alan Butler.

Further announcements will follow in relation to events in the gallery to coincide with the New Beginnings exhibition including a new performance by Nigel Rolfe. 

Nigel Rolfe , Dark Pool, Prussian blue and ivory black pigment and lard on Fabriano paper , 2018

Nigel Rolfe , Dark Pool, Prussian blue and ivory black pigment and lard on Fabriano paper , 2018

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to Jun 2

Ramon Kassam: Study for a Studio by the Sea

April 13th – June 2nd, 2018
Reception: Thursday 12th April, 2018, 6 – 8pm

Green On Red Gallery is pleased to present Study for a studio by the Sea, the second solo exhibition of new works by Irish artist Ramon Kassam in the Spencer Dock gallery.  In this exhibition of new paintings the artist continues to make works that reflect on the physical, social and art historical conditions of their own creation with inventiveness and humour.  The fiction of the artist grappling with his subject, even his career, in his studio is fleshed out in these ambitious paintings and diptychs.  The canvases are physically and visually layered, at times confusing real space with depicted space in large colourful expanses.

Study for a Studio by the Sea takes its name from one of the central works in the show. The large-scale painting depicts an artist’s desire to actively engage with, fantasise about and shape their environment through studio activity and painting. This work and the other paintings on show are an extension of Kassam’s ongoing project to develop a world in which to cite an artist. As a result, reoccurring themes and motifs related to landscape are present throughout this series of paintings. 

The universe he is creating on the 2D pictorial surface of his canvases are spaces the artist can enter into/onto. This imaginary escape route out of his own studio reality allows Kassam to intuitively indulge his appetite to invent the places, narratives and processes from which his paintings draw. 

Moving between first person and third person points of view and from one painting to the next, scenes and activities simulated in works for this exhibition include:  painting a not-too-distant Nearest Town ( 2018 );  a painting of a distant and desirable destination in Tropical Strokes ( 2018 ); and, you could say, a desperate fantasy of the artist to relocate to the coast played out in Study for a Studio by the Sea ( 2018 ).

The aesthetic of these paintings and Kassam’s practice in general is strongly influenced by his enthusiasm for modernist painting languages. The abbreviated content in his compositions can appear flattened or stretched, and emerge from combining hard-edge blocks of form, colour and imagery. In some works canvases are combined and incorporate collage. At times minimal and at times gestural, his paintings can blur in and out of legible imagery and pure abstraction. 

In a gesture that further complicates and extends the dialogue in Study for a studio by the Sea, the exhibition generously includes two additional paintings to Kassam’s own, one each by painters Fiona Burke and Seán Guinan, studio peers and friends of the artist. Both works employ comparable visual languages to Kassam's and make reference to landscape. Presenting them together in his show, Kassam re-casts the paintings as those of his bitter rivals in the painting landscape of his expanding, invented universe. 

As always, the processes and concepts on show are intended to provide multiple readings of the work, but ultimately aim to connect to painting’s visual tradition, and the physical and psychological landscape of the real world.

Special events organised during the run of this exhibition will be announced.

Ramon Kassam is an artist from Limerick City, Ireland.  Painting forms the basis of his practice. Kassam’s recent work re-connects with the concept of the artist as creative subject, combining the thematic of the artist's workspace ( canvas, studio, gallery and urban environment ) with formal and conceptual references to the autonomous reality of modernist abstraction.

Ramon is a graduate of the Limerick School of Art and Design and has been exhibiting regularly since 2013. Exhibitions include: The Eli and Edythe Broad Art Museum in Michigan (USA), The Green On Red Gallery - Dublin (Solo), The Lewis Glucksman Gallery - Cork, Limerick City Gallery of Art (2015 Solo), and EVA International Ireland's Biennale, Limerick (2014).

He has received a number of awards and residencies. These include The 16 x 16: Next Generation Bursary Award, a special initiative of the Arts Council and the Ireland 2016 Centenary Programme, in recognition of the role of artists in the events of 1916. Residencies include The Embassy of Ireland in Addis Ababa - Project Residency, The RHA Tony O’ Malley Residency Award and Irish Museum of Modern Art. In addition to his practice Kassam founded and was a Director of both Wickham Street Studios, an artist studio complex and Occupy Space, a visual arts exhibition space in Limerick City from 2009-2011.

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to Mar 31

Kirstin Arndt: Tight corners Loose Lines

Green On Red Gallery is delighted to present the first solo show in the gallery and in Ireland by Kirstin Arndt (b. Germany, 1961) called Tight corners Loose lines.

Arndt brings to her mixture of sharp and flowing industrial materials a predilection for clean and colourful forms, at times inviting the viewer to interact with or even to recompose her work. Her sculptures, made from a wide variety of readily available industrial materials, fold, bend, fall or crease in space depending on the support or the effects of gravity on her limp or resistant forms.

She has previously exhibited with Green On Red Gallery in Material Pleasures, in 2004 and Future, 2017.

Ralf Christofori has written how Arndt has a very keen sense of the aesthetic in everyday things. She searches for and finds her materials among common or garden building supplies – shielding fleece, barrier tape, plastic containers, shower curtains, and the like. And throughout this the Düsseldorf artist references the historical sources of Concrete Art. Kirstin Arndt does not simply present the materials she uses, they are as it were “re-informed” by her: She releases the things from their original functional contexts, gives them form, and lends them a new purpose. In her untitled piece from 2007, she has taken industrially manufactured truck tarpaulins, complete with their functional hooks and eyes, and hung them on the wall. Quite profane, but composed most exactly to produce a charged effect. A tarpaulin coated in matt silver in the shape of a square hangs directly on the wall; to the right the silver gives way to a shiny green, thus loosening up the feeling of a two-dimensional
panel painting. Kirstin Arndt manages to approach found objects with a heightened sensitivity and attention, as both an artist and a beholder. The silver tarpaulin advances to become a monochrome picture surface, the green tarpaulin is fixed in such a way that its right-hand side evokes a Baroque arrangement of folds. In this way the work literally evolves an inner dynamism that does not simply distract our gaze on second sight from perceiving a mere “thing in itself”. The effect is astonishing – not least because this art undermines the
viewer’s expectations by the simplest of means. This is clearly one of the great visual or aesthetic strengths in Kirstin Arndt’s works. But the true consequence of this piece only reveals itself once one leaves the perceptual level in order to bring to mind the artistic concept behind it. The artist draws on the underpinnings of Concrete Art and transgresses them by taking them literally and enriching them by a clever marriage with the concept of the readymade. That this marriage may truly be made in heaven and not of the shotgun variety is revealed impressively in Kirstin Arndt’s works. RC

Hommage an das Quadrat,2009, . p. 70/71, Museum Ritter, Waldenbuch, Germany. (Translated from German.)

Kirstin Arndt is represented in Germany by Galerie Gisela Clement, Bonn, Galerie and Galerie Kim Behm, Frankfurt.

For more information please see Kirstin Arndt & Green On Red Gallery.

o.T. (untitled), 2009, PVC tarpaulin, water blue (218 x 218 cm), aluminum, polished (300 x 5 x 2 cm), 235 x 290 x 2 cm,  Image: Kirstin Arndt

o.T. (untitled), 2009, PVC tarpaulin, water blue (218 x 218 cm), aluminum, polished (300 x 5 x 2 cm), 235 x 290 x 2 cm,

Image: Kirstin Arndt

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to Feb 3

Future – Christmas Show 2017

Eleven artists.  New Work.  New artists.

Opening Reception :
Thursday, 14 December, 6-8pm, 2017

Exhibition Dates :
15 December, 2017 – 3 February, 2018

The Gallery will close for Christmas Holidays at 3pm, Saturday, December 23, 2017.  Normal hours will resume on Wednesday 3rd January, 2018.  

Kirstin Arndt ,  o.T.,  (flyer/rectangle), 2006, Anodized aluminium, 68 x 42 x 35cms and 65 x 50 x 45cms

Kirstin Arndto.T., (flyer/rectangle), 2006, Anodized aluminium, 68 x 42 x 35cms and 65 x 50 x 45cms

Green On Red Gallery presents Futurea group exhibition featuring works from gallery and invited artists. New work by artists Kirstin Arndt ( D ), Alan ButlerJohn CroninDamien FloodBenjamin Houlihan ( D ),  Mark JoyceArno Kramer ( N )Fergus MartinNiamh McCannCaroline McCarthy and Nigel Rolfe will dominate.

Kristin Arndt will show for the second time in the gallery with her newest sculptural and wall works from her Düsseldorf studio.  Arndt brings to her mixture of sharp and flowing industrial materials a prediliction for clean and colourful forms, at times inviting the viewer to interact with or even to recompose her work.  She last exhibited in Green On Red Gallery in Material Pleasures curated by Molly Sullivan in 2004.

Alan Butler continues to delve into a virtual computer-generated space with dazzling, hypnotic results to make works that pose searching questions about man's tinkering with technology and nature.  His new deskscapes jump off the page as do his new deep blue Virtual Botany cyanotypes.

John Cronin's first canvas paintings Warme Nights, Fat Grounde, Softe Dewes, And Misty Mornings ( 2017 ) will be on display.

Damien Flood's new paintings on canvas and linen show the artist's trademark play with memory and half narrative.  The viewer is caught in this world of fragments and silhouettes where a teasing but elegantly curving line will, when you least expect it, exude in a lush protrusion or a thumbprint.  Not to mention the baroque pirourette of his anti-gesture.

Mark Joyce will show new small acrylic paintings on raw linen.  His startling palette of colours borrowed from nature are somewhere between image and a rainbow of marks. 

Arno Kramer ,  High Winds Move Slowly , charcoal, pencil, watercolour on plaster, Courtesy The Artist and The Model, Sligo, 2017

Arno KramerHigh Winds Move Slowly, charcoal, pencil, watercolour on plaster, Courtesy The Artist and The Model, Sligo, 2017

Arno Kramer will exhibit new mixed media drawings on paper that place images, animals and birds from nature in testing, abstract compositions.  They appear innocent witnesses to looming and surrounding forces, caught in a maelstrom of dark webs and pools, words and lines.  Kramer is one of the leading artists working in drawing in Europe today.  Arno is the founder and curator of The Drawing Centre, Diepenheim, the Netherlands.

Fergus Martin's two pastel paintings on paper are the earliest and possibly the largest works in the exhibition.  These Untitled paintings carry many of the artist's recognisable and singular, uncompromising traits where edge and extent and the hand-made are pushed to a bold and meticulous limit.

Another artist who pushes his chosen material to surprising limits is Benjamin Houlihan, showing for the first time in Green On Red Gallery.  No matter what his material, Houlihan manages to find an expressive charge that is hard to match or to contain.  His sanded sculptures are finely balanced on a line verging on the impossible.

Niamh McCann also considers nature pitted against culture.  The resulting works in ceramic, fired clay, porcelain, wood, gold leaf, bronze and pure pigment are rich in association and steeped in Modernist history, albeit an alternative history.

Caroline McCarthy's Ground Work ( 2017 ) and Walk me to the station ( 2017 ) paintings are her latest achievements in acrylic, unbelievably, on canvas.  Caroline's next solo show will be in Green On Red Gallery in 2018.

In Nigel Rolfe's new 'Dark was the night cold was the ground'  works on paper he uses Chinese blood ink and ivory black pure pigment to dramatic and energetic effect.

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