I feel in the need for some inspiration having taken a break from blogging over the last month or two in order to help with some big projects, Now I find myself a little removed from any creative ideas…
So over the next couple of weeks I am going to take a closer look at the work of some of my most loved artists.
Hans Op de Beeck (1969, Turnhout) is a Belgian visual artist who lives and works in Brussels. For over twenty years he has exhibiting internationally.
I first viewed his work at the Butler Gallery in Kilkenny back in 2014 and was instantly taken by his film making, I love his view of the world and the way he reflects on the passage of time in his videos.
Here is just one such a film : Staging Silence
‘Staging Silence’ is based around abstract, archetypal settings that lingered in the memory of the artist as the common denominator of the many similar public places he has experienced. The video images themselves are both ridiculous and serious, just like the eclectic mix of pictures in our minds. The decision to film in black and white heightens this ambiguity: the amateurish quality of the video invokes the legacy of slapstick, as well as the insidious suspense and latent derailmentof film noir. The title refers to the staging of such dormant decors where, in the absence of people, the spectator can project himself as the lone protagonist.
Memory images are disproportionate mixtures of concrete information and fantasies, and in this film they materialise before the spectator’s eyes through anonymous tinkering and improvising hands. Arms appear and disappear at random, manipulating banal objects, scale representations and artificial lighting into alienating yet recognizable locations. These places are no more or less than animated decors for possible stories, evocative visual propositions to the spectator. The film is accompanied by a score which, inspired by the images themselves, has been composed and performed by composer-musician Serge Lacroix.
Self-Portraits Tony O’Malley, Centenary Exhibition 2013
Over the last five years I have been working for Jane O’malley, a local artist and wife of the late Tony O’Malley , photographing all of Tony’s archive work along with some of Janes own paintings.
Tony is a very well know artist in Ireland and it has been a great pleasure to work with Jane and record and see most of Tony’s Career through his paintings and sketch books.
Some of these photographs of tony’s self portraits have just been used in a new book and exhibition being held in the Butler Gallery in Kilkenny.
The below images taken this weekend are from the exhibition.
The Exhibition, held in the Butler Gallery Kilkenny
“Tony O’Malley holds an important and distinguished position in the history of twentieth century Irish art. A highly respected and beloved artist, his works are represented in all major Irish museums and included in the most significant public and private collections of Irish art. Throughout O’Malley’s working life he made self-portraits. They became a way for the viewer to know him. O’Malley taught himself to draw and paint, and in the early days the self-portrait was a convenient immediate means in which to put marks to paper whenever a mirror was available. The mirror was a non-judgmental, reliable ally.
Through the diversity of his self-portraits, we see O’Malley’s practice evolve. The self-portraits stare back at us, mostly unexpressive and unsmiling, sometimes severe, sometimes with one eye closed. Always we see O’Malley’s distinctive strong nose, bearded face, and a bald head at times dressed with skull cap, in later years with sunhat, protection from the hot Bahamian rays. From time to time, we see O’Malley viewed from only the side of a mirror, with the studio or the garden taking prominence in the remainder of the frame. The monochromatic self-portraits are stark and economical and echo the words of the artist himself, ‘The more I paint the less of myself is there’. O’Malley has left us a great gift: a wealth of self-portraits by which to remember him.”