Exhibition opening 7 March 2019
Exhibition continues 8 March – 25 April 2019
MART Gallery, 190a Rathmines Road Lower, Dublin 6.
Curated by Deirdre Morrissey.
slow motion is a presentation of new works by Jane Fogarty. The works are an exploration of time, form, colour and composition.
What you see is what you get.
Within her work, Fogarty establishes limitations from which self-dictated narratives emerge. Through these boundaries, elements of chance and endurance enter into the work. Each work is specific to the moment of its creation and, even if repeated, results differ each time. These works stem from an interest in the ways we understand the passing of time and its translation into visual language. Analogous to time, a painting can be interpreted as an accumulation of moments.
The paintings evolve without a preconceived notion of their endpoint with compositions that fold inwards. Their colour palette is predetermined, taken from a colour swatch derived from photographs of the sculptures. The paintings are made using egg tempera. With this method, the paints are made from scratch on a daily basis. Then the colour is slowly built up, layer upon layer. Much like the individual twists of wet paper pulp, patiently adhered to one another in the sculptures.
The sculptures are created using a mixture of paper, crepe paper and wallpaper paste. Paper is a ubiquitous, often throw away material, while also maintaining its affiliation as a traditional artistic material. Through manipulation, this usually flat surface acquires a three-dimensional form. Soaked paper is pulverised, drained, squeezed through a mesh and layered up individually. The lumps retain the twisted action of their making, there is a human presence in their final state.
The work is slow and contemplative in its creation due to the nature of the processes involved. The process is cyclical. The paintings inform the sculptural works and the sculptural works inform the paintings. Everything is connected. This work was made with generous support from MART gallery team, Fire Station artists studios, the Fine Art department at the Dublin Institute of Technology and all the team at D-Light studios.
MART’s 2019 Gallery Programme is supported by the Arts Council.
About the Artist
Jane Fogarty is an artist living and working in Dublin, Ireland. Her work has featured in both national and international exhibitions, including a two person exhibition, Mystery Ewer, at Artbox (2016) and three solo exhibitions; Paperwork, a site-specific installation in Harold’s Cross (2016), Mel at Eight Gallery (2014), and |’painti NG | at the Talbot Gallery (2011) as a result of receiving the Most Promising Graduate Award in 2010. Selected group exhibitions include: A ̄ ̄A A ̄ ̄A A ̄ ̄A at 126 Galway (2015); Spirit of the Stairs at Basic Space (2014); Unearth at Roscommon Arts Centre (2013); Nailing Jelly to the Wall at Catalyst Arts (2012) and ELIA’s NEU/NOW Live in Nantes, France (2010). Her work was recently added to the State Art Collection (OPW). Fogarty has also received several awards from the Arts Council, the RDS and South Dublin County Council.
MART curators Matthew Nevin & Ciara Scanlan are delighted to present the exhibition A Rhythm Exposed (Routines: 5-6) by Steven Maybury, kindly supported by The Arts Council of Ireland.
Preview: Thursday 11 May 2017 @ 6pm
Location: The MART Gallery, 190A Rathmines Rd, Lwr, Dublin 6.
Runs to: 8 June 2017
Open: Tues-Sat: 1-6pm
A Rhythm Exposed (Routines: 5–6) represents the artist’s travel and conversations, combined with a curiosity into Buddhist doctrine concerning the three marks of existence. Focusing on the characteristics of Anicca, Dukkha and Anatta – Paliwords for impermanence, anxiety or suffering and non-self. They are used here as a reference to questions of interest, concern and ritual. The three characteristics are common to all forms of existence.
This exhibition is part of the artist’s ongoing Routines series. In this series, which began in 2016, drawing is used as a key conceptual tool for the artist to examine obsessions in archiving, ownership and preservation and invites contemplation of the meticulous use of ink, light, and time on the aesthetic of the artworks. It is a continuous process of assembling and making, informed by reactions to the artist’s personal encounters.