http://www.philirish.com/ The Adventures of Painterly Imagination en Copyright 2008 Mon, 14 Jan 2008 20:23:11 +0000 http://www.sixapart.com/movabletype/ http://blogs.law.harvard.edu/tech/rss Phil Irish. A Bridge I Can't Burn Down. Oil on panel, digital print. 200 cm x 110 cm. 2008. ================================= Here's the first nocturne, that I mentioned. (Perhaps 2 others on the way.) This piece was the centre-piece of "Intimate," my recent exhibition at Galerie Joyce Yahouda, in Montreal. I am very excited about the world opened up within this painting: the contrast of surfaces, the delicate lace pattern against the explosive bridge, the dance of illusion and abstraction. It is based on two bridges, side by side, in Quebec City. It is emotionally engaging. I believe it speaks of the longing for connection, for building bridges, for love. ]]> http://www.philirish.com/2008/01/intimate_in_montreal_1.html http://www.philirish.com/2008/01/intimate_in_montreal_1.html In the Public Eye Mon, 14 Jan 2008 20:23:11 +0000 Whistler nocturnes --- amazingly subtle and evocative night scenes, where industrial landscapes become poetic mysteries. I love the surfaces of these paintings, especially that washy blue, applied so fluidly over the darkness, to make the rippling water. Peter Doig --- I have been really enjoying this monograph. His paintings are so awkward, but so structured. The dizzying surfaces of textures and splashes are very interesting indeed --- the tracery of branches against the tracery of cracks on ice. Growing from this are some nocturnes of my own. ]]> http://www.philirish.com/2008/01/building_bridges.html http://www.philirish.com/2008/01/building_bridges.html Creative Process Mon, 14 Jan 2008 20:14:17 +0000 Here is how the Narnia Triptych looked, at the River Run Centre and the Centre in the Square. It was amazing to see the work as it was intended, after a couple of months of work. The following images show how it looked with various lighting effects that I also did plans for. The melding of music, dramatic reading, and visuals was very successful. An imaginative evening indeed. ]]> http://www.philirish.com/2007/12/the_lion_the_witch_and_the_orc.html http://www.philirish.com/2007/12/the_lion_the_witch_and_the_orc.html In the Public Eye Sat, 22 Dec 2007 05:47:08 +0000 With the Narnia Triptych almost completed, there was a panic of final details. The canvas had developed a ruffled edge, for instance, that I had to tame. Since I painted the work in sections, in essence rolling the canvases up and down my walls like huge scrolls, it was key to lay them all out side by side and make sure they all spoke to each other. I pumped some extra colour into the right panel --- Aslan's Spring --- to make sure it would not be overcome by the Witch's bold contrasts. Why is it always easier to create something sinister than something hope filled? But, in fact, I am delighted with the vibrant and vital opulence of the right side. It is really the only section where I was changing things as I went: dangerously beautiful. *** And little Ravenna, now almost 6 months old. How is it that our clothes match the painting? Not planned, I assure you. Some passages of the Triptych were painted with her in my arms... she would be mesmerized for a time, and then rebel. ]]> http://www.philirish.com/2007/12/immersed_in_another_world_1.html http://www.philirish.com/2007/12/immersed_in_another_world_1.html Creative Process Mon, 17 Dec 2007 04:50:52 +0000 So here is how the studio looked earlier this week: the studio like a family cottage industry, with Anna on the sewing maichine, baby Ravenna at my feet, and paint flying happily. I am enjoying the thrill of working huge, even if I can only see 1/6th of the total scale at a time. ]]> http://www.philirish.com/2007/11/the_magic_begins.html http://www.philirish.com/2007/11/the_magic_begins.html Creative Process Fri, 09 Nov 2007 20:00:47 +0000 Narnia doodle, from my sketchbook. ========================== I heard about an orchestral and dramatic event based on C.S. Lewis' classic tale, "The Lion, the Witch, and the Wardrobe." They were seeking an artist to create a painting to add a strong visual element to the production. At first it seemed impractical to take on such a huge task --- but then I couldn't get the possibilities out of my head. I started sketching and dreaming myself into the story. I put my ideas together, and it turns out that they accepted my project. I am in full rhythm working on them now. I will add some photos of the work in progress over the next 6 weeks. This is a real departure from the main direction in my work. Yet it has allowed me to explore new ways of working, and to allow the fantastical aspect of my imagination to romp uninhibited. Despite this sense of fantasy, there are strong metaphors in the work that move well beyond a literal re-telling of the story. I like the word "wonder" more than fantasy, actually. The production, called "The Lion, The Witch, and the Orchestra," is a collaboration between the Kitchener-Waterloo Symphony, Lost and Found Theatre, and myself. Please visit the website of Lost and Found Theatre for ticket information. ]]> http://www.philirish.com/2007/11/having_dreams_of_narnia.html http://www.philirish.com/2007/11/having_dreams_of_narnia.html Creative Process Thu, 08 Nov 2007 06:03:19 +0000 Phil Irish. A Modest Ostentation. Oil on panel, digital print, 2007. ================== This painting just won 2nd Prize in the Shirley Dilworth Jaychuk Painting Competition, at the Elora Centre for the Arts. It was a great evening of festivities, with jurors I respect: Doug Kirton, Will Gorlitz, and Judith Nasby. Did you know that an "ostentation" is a name for a group of peacocks? A murder of crows... an ostentation of peacocks. The word seemed fitting for this work: the wild opulence of the peacock feathers and postures, set amid the cedar beams and humble window of an Ontario barn. At the left edge, all remains quiet and muted. As your eyes explore further to the right, the colours and spatial tensions increase their strength and freedom. The textures of fencing interrupt the surface, fading in and out of focus. ]]> http://www.philirish.com/2007/11/peacocks.html http://www.philirish.com/2007/11/peacocks.html In the Public Eye Thu, 08 Nov 2007 05:36:21 +0000 A DETAIL from the painting, Phil Irish. "Hope, my love." Oil on panel. 2007. ====================== I haven't posted anything about this, because it is so personal. But also so public. A weird thing... now I feel that, by posting a detail, this can be shared. The PUBLIC PART: I have a portrait shortlisted for the Kingston Prize! This national portrait competition has selected 30 works for exhibition, and the prize winner(s) will be chosen from that group. I'm pleased to see some artists I know in the line-up, as well as others I don't. It should be a good party: the gala is on October 4th. The PRIVATE PART: This painting was not done as part of any series or thread within my work. It was done as a private work, to mark a significant moment in Anna's life, and my life. Our lives together. In a way it is a quiet painting -- no broad gestures or abstract ruptures. Quietly honouring the hope we have, and the suffering we leave behind... how both hope and suffering leave their bodily marks. The result, I feel, is a sensitive image of great power. Anna, my love... Now this private thing goes public, making us both rather awkward. We actually don't want people who know us to see it... but, for "art-land," it will function as an image apart from the complexities of our lives lived. How's that for conflicted? I won't be conflicted should we happen to get the $10 000, though -- haha!]]> http://www.philirish.com/2007/09/hope_my_love_1.html http://www.philirish.com/2007/09/hope_my_love_1.html Creative Process In the Public Eye Tue, 25 Sep 2007 06:08:36 +0000 Doug Kirton The Cadillac Palace Theatre in the Rain, 2007, Oil on canvas, 106.5" x 84" I've admired Doug Kirton's paintings for many years. In fact, at University of Guelph, he sparked a breakthrough in my approach to painting. He was a masters student at the time, and I was taking my first painting class with him. I loved the way he spoke of the physical properties of painting --- about the transparent glaze interupted by the chalky scumple, the hard edge diffusing to a blur, or the optical buzz from layered colours. At the time, I was very driven by subject and narrative in my work. A short visit to Doug's studio convinced me that just as much "meaning" is held in the multiplicity of ways paint can be coaxed onto a surface. So, I really enjoyed seeing Doug's new show last night. Hypnotic compound spaces, where city lights reflect and refract through glass and rain. Each work is a visual puzzle, both illusion and abstraction. There is a fascinating tension in these works --- the imagery would have lent itself to a wet treatment of transparent glazes and drippy marks. Instead, the glistening lights and reflective surfaces are made from thick stringy scumbles of opaque oils. Beyond the visual play of these works, there is a sense of melancholy. I found myself alone, in a hotel loby, in a city far from home. It is a place that purports to be glamorous, but is found to be empty. The dark blues and un-nameable grey tones create a profound and beautiful sadness. Perhaps there is a critique of the glamorous metropolitan streets. But it is not cynical. These works are made with too much subtlety and ambiguity. The painterly attention, its quietly throbbing energy, demands our attention. Doug Kirton's exhibition, "Still Water and Rain," at the Kitchener-Waterloo Art Gallery. There's on online publication about the show here.]]> http://www.philirish.com/2007/09/doug_kirton.html http://www.philirish.com/2007/09/doug_kirton.html Stimuli Sat, 15 Sep 2007 16:40:23 +0000 Phil Irish. My Goal, Oil on panel, digital print. 2007. ============== Well, it's always gratifying to see the work on gallery walls. Crisp and clean, where the relationships between each piece become clear. Both openings were festive and good. I enjoy it when people really engage the work, take time to discover... and some even put their hearts on the line. It's also great when critics and media take notice! So here's the scoop about the shows: 1) Both exhibitions have been extended! So, if you haven't be able to see the shows, you have a little more time.... Phil Irish and Adrian Williams now runs until Saturday September 1st. For details, see Angell Gallery Phil Irish: Scene Changes now runs until September 15th. At the Bainton Gallery, Blyth Ontario. see The Blyth Festival. 2) Both exhibitions have received positive reviews! See "The Globe and Mail" review by Gary Michael Dault, click here. See "The Record" review by Robert Reid, click here. 3) The painting "My Goal" is being purchased by the Macdonald Stuart Art Centre. The Macdonald Stuart is the public gallery in Guelph, Ontario. Hope you enjoy these last weeks of summer. I'm taking Arden camping on the lovely shores of Georgian Bay!]]> http://www.philirish.com/2007/08/exhibition_updates.html http://www.philirish.com/2007/08/exhibition_updates.html In the Public Eye Mon, 20 Aug 2007 06:34:14 +0000 A recent painting: Phil Irish. Tree Fort, Oil on panel, digital print. 110 x 125 cm, 2007. ==== 1 ==== "Phil Irish and Adrian Williams" August 2nd – August 25th Opening reception Thursday August 2nd 6–9 PM Angell Gallery 890 Queen Street West Toronto, Ontario (Located west of Trinity Bellwoods Park on Queen and Crawford) Gallery hours: Wed to Sat 12pm to 5pm or by appointment This show opens on my birthday! What better way to celebrate, than with an art party! Hope to see you there... ==== 2 ==== Phil Irish solo exhibition: "Scene Changes" August 10 until September 1st (or 15th if theatre season is extended) Opening reception Friday August 10th, 7 pm. Bainton Gallery, at the Blyth Festival 423 Queen St. Blyth, Ontario The Blyth Festival is a summer theatre festival --- near Lake Huron. A perfect summer place to be. Why not make the trek for the show, and catch a play or two while you're there? ]]> http://www.philirish.com/2007/07/summer_exhibitions.html http://www.philirish.com/2007/07/summer_exhibitions.html In the Public Eye Mon, 16 Jul 2007 15:38:02 +0000 Welcome to the world! This photo is of Arden holding her new little sister, Ravenna. We are all doing well --- Anna's recovering well. We're filled with wonder at little fingers and toes. Sleep deprived, and joyous, with this new person among us. Thank you, Creator, for our part is small and our gratitude is huge.]]> http://www.philirish.com/2007/06/hello_ravenna_little_one.html http://www.philirish.com/2007/06/hello_ravenna_little_one.html Life Stories Fri, 29 Jun 2007 15:15:32 +0000 I am smitten with this sculpture. At the Art Gallery of York University, (after squeezing by the hip revelers at the bar,) this piece reached out and grabbed me. Perhaps that has to do with my obsession with Ukrainian Eggs (see my previous post...) but it's much, much more. Created by Anitra Hamilton, it is titled "Who's gonna tell Jesus there's no Santa Claus." It is a real bomb (how did she acquire that?) covered in smashed Ukrainian Eggs. As you stand next to it, you can see how each egg had fit together. She told me that "I made 20 dozen psanky eggs for that project, it took 8 months, never again." This beautiful decoration, concealing this tool of violence and destruction, proves to be a compelling and irreducable provocation. I keep asking myself what the relationship between these elements might be... Are the eggs complicit in decorating violence? Or are they offering a fragile alternative to violence and domination? What is the power in brokenness? There is something powerful in the fact the eggs are broken. This broken, suffering beauty is a critique of the violence of our empires (or within ourselves). I also enjoyed Kristan Horton's show... it was fun, witty, campy. But it's the egg-bomb that kept exploding in my head on the drive home. ]]> http://www.philirish.com/2007/05/the_beautiful_bomb.html http://www.philirish.com/2007/05/the_beautiful_bomb.html Stimuli Sun, 13 May 2007 05:18:46 +0000 Looking for a way to immerse ourselves in the Easter experience, we borrowed a "Pysanky" egg dying kit. Drawing the lines on with a wax resist, a few of us circled around the burning candle flame... it was a beautiful experience. It's quite addictive, adding colour after colour without knowing how it is turning out. It evolved to a point of being a ball of blackened wax, dipped in black dye. Then, gently removing the wax coating, the vibrant colours were revealed. Revelation indeed. A poetic process. Anna and I became addicted. I've now ordered my own kit, to be ready for next year. Pictured is my fav egg. Instead of the traditional pattern, this egg has a meditation on one of Christ's "words from the cross." I like the way you have to keep turning the egg to discover all the elements. There is something true about this turning, discovering, unfolding. ]]> http://www.philirish.com/2007/04/hippy_ukrainian_easter_eggs.html http://www.philirish.com/2007/04/hippy_ukrainian_easter_eggs.html Stimuli Mon, 23 Apr 2007 15:01:19 +0000 Last week, after teaching, I got together with Scott Sawtell. (Scott makes politically provocative paintings -- see his work here.) Following dinner, we went to visit Emily Carr at the AGO. It was interesting to see how populated the early works are: the First Nations villages are thriving with children and canoes and people making stuff. The vibrant Gauguin-induced colours only add to the sense of life.... so is this a romanticism akin to Gauguin's tahiti? But then, the modernist Emily is painting dense forests, and totem poles, with no sign of people. The people are gone. So is this a modernist "take out the narrative" abstraction? Or did the villages see marked decline in the intervening 20 years? The dense forests, full of rippling rhythms and illusionstic paradoxes, were my favorite bits. The end of the show felt depressing. The wall texts were going on about the luminous skies of Theosophy... but all I saw was the decline of the forest to wimpering lone trees. Paintings about decline, but not the howling rage of decline... rather, the wimper of helplessness. ]]> http://www.philirish.com/2007/04/lost_in_emilys_woods.html http://www.philirish.com/2007/04/lost_in_emilys_woods.html Stimuli Tue, 03 Apr 2007 04:16:58 +0000