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  •  A solo show of new work by Margaret Corcoran, Emergence will open on Sept 30th at 7.30pm 

Peter Burns and Mary Noonan

Peter Burns
Peter Burns paintings are romantic in essence, playful re-workings of  myths, Biblical stories, art historical, literary and musical themes.  In the paintings people are shown in relation to nature and the universe. Small figures of people and animals exist and roam in a painted world. 

"One painting is heavy, encrusted and knobbled with history.  On another canvas the barest of coloured stains suggest trees. Rudimentary people with eyes and mouth poked into a blob of paint for a head, pale pink hills, bituminous nights. A man climbs a mountain to find nothing. A woman sits hunched beneath a tree made of  an old paint rag. The underworld into which Orpheus descends is the pocket in an old pair of jeans. A man with a telescope looks to the heavens. The milky way is paint flicked on from the brush. Jacob wrestling the angel, Tolstoi walking in the snow, a strange ancestor. Torn paper, balsa wood, powdered pigment."

A variety of techniques are used to enliven the surfaces of the paintings. Chunks of old dried paint from the pallett are attached to the canvas in places, while on other parts of the canvas paint is  scraped off revealing underlying layers.

Exoticism flavours the work with allusions to faraway places, to Japanese art and Russian literature. Infinity is suggested in the sky, in the stars and the planets. They are colourful paintings with a sense of humour. They are daring and experimental, each one a self contained world. Sculptural, suggestive, enigmatic. 

Mary Noonan
Mary Noonan's practise expands into a variety of areas and most of her work is watercolour and drawing based. The work is a reflection of the artist's research into Irish folklore and superstition relating to “fairy-faith”, particularly from the late nineteenth and early twentieth century. It also has a direct relationship to Noonan's upbringing on a farm in the West of Ireland. The materials and processes that she uses such as tearing and cutting the paper become a metaphor for psychological aspects of uncovered narrative. The work is informed by a sense of the uncanny and explores ideas relating to identity, landscape and cultural history.


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