P谩draig Timoney: The Unbusy Places
Andrew Kreps Gallery is pleased to announce The Unbusy Places, an exhibition of new works by P谩draig Timoney at 55 Walker.
Bringing together divergent subjects and techniques, P谩draig Timoney鈥檚 exhibitions function as records of time, a chronicle of decisions made, and an ongoing inquiry into the mechanics of image-making. Resisting a singular style or thesis, Timoney lingers in the interstices of painting, and approaches each work as its own site of exploration. Source imagery is simultaneously deconstructed, and reconstructed, and the errors of translation, and both intentional and accidental accumulation of material is welcomed in the process. Often manipulating paint through the application of photographic developer, which erodes elements of the composition to reveal further layers, abstraction and figuration are pushed closer together, testing the limits of recognition. This interest in legibility is furthered in a new series that play on painting鈥檚 typified role as a window; works made on clear or frosted glass, which is hand mirrored using silver, gold or lead. As materially identical pairs, these alternately activate the space in and around them through clear reflection or muted occlusion. In both, Timoney welcomes failures in the chemical process, surface disruptions that appear as dark swaths of gray and create their own relationships between positive and negative space. Shown alongside paintings titled 鈥淏roken Mirrors鈥�, which replicate the appearance of the mirror space in charcoal and acrylic, together the works in the exhibition test the limits of representation and attention, as well as their meanings.
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Andrew Kreps Gallery is pleased to announce The Unbusy Places, an exhibition of new works by P谩draig Timoney at 55 Walker.
Bringing together divergent subjects and techniques, P谩draig Timoney鈥檚 exhibitions function as records of time, a chronicle of decisions made, and an ongoing inquiry into the mechanics of image-making. Resisting a singular style or thesis, Timoney lingers in the interstices of painting, and approaches each work as its own site of exploration. Source imagery is simultaneously deconstructed, and reconstructed, and the errors of translation, and both intentional and accidental accumulation of material is welcomed in the process. Often manipulating paint through the application of photographic developer, which erodes elements of the composition to reveal further layers, abstraction and figuration are pushed closer together, testing the limits of recognition. This interest in legibility is furthered in a new series that play on painting鈥檚 typified role as a window; works made on clear or frosted glass, which is hand mirrored using silver, gold or lead. As materially identical pairs, these alternately activate the space in and around them through clear reflection or muted occlusion. In both, Timoney welcomes failures in the chemical process, surface disruptions that appear as dark swaths of gray and create their own relationships between positive and negative space. Shown alongside paintings titled 鈥淏roken Mirrors鈥�, which replicate the appearance of the mirror space in charcoal and acrylic, together the works in the exhibition test the limits of representation and attention, as well as their meanings.
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