Co-curated by Charlotta Kotik and Hanne Tierney. This un-dogmatic exhibition presents work by two sculptors and two painters for the pleasure of seeing the physical manifestation of the process of art making.
Kathleen Maximin, a largely self-taught painter, equates her painting method with music making. “I’m creating music on a canvas, while I focus my thoughts on color.” Her paintings show an unerring sense of when to stop her hand and herself from applying
yet one more stroke.
Although Michael Filan’s recent paintings have become more brushless, the gestures, drips and splashes that unite his work are intricate, even intimate and self-referential. Special planes are created on the surfaces that become resting points for the eyes, and at the same time, a showplace for the color.
Gerard McCarthy’s work in the exhibition consists of several groups of monochromatic stoneware sculptures, dense, solid and small in scale. The figures have a monolithic heft to them, and a sturdy Paleolithic look. Women gossip, dancers sway, and some others might be engaged in political protest. It is impossible not to be aware of the hand-built in
the work.
Gunnar Theel’s Beach Houses reveal his long-standing interest in architecture. This series of small welded and painted steel sculptures is partly inspired by de Chirico’s cityscapes and partly adheres to the artist’s vision of habitable sculptures. His work is guided by the Bauhaus economy of “simplification of design and refinement of proportions”.
