Joe Mcgill, Blue Haiku, oil on board, 27 x 22 cm
Michele Souter, Is this for real? III, acrylic on handmade paper, 23 x 29cm
Joe Mcgill, Leave taking, mixed media, 22 x 27 cm
Michele Souter, Is this for real? II, acrykic on handmade paper, 23 x 29cm
Joe Mcgill, Bell, mixed media
Michele Souter, Is this for real? III, acrykic on handmade paper, 11 x 8cm
Joe Mcgill, Game, ceramic, 18 x 11.5 x 13cm
Michele Souter, Dissolution III, acrykic on Arches paper, 56 x 77cm
Joe Mcgill + Michele Souter
February 12th - March 16th, 2016
___Permanently Temporary brings together the work of gallery artist, Joe Mcgill, and invited artist, Michele Souter.
___Best known for his intricate found-object sculptures, Mcgill's unique artist vision was first recognised by James White, the former director of the National Gallery of Ireland. Writing at the time of the artist's debut solo show, White argued that "the primary impulse was a desire to get away from all the influences and movements that abound in modern art. He was not satisfied with any exploration of existing methods of painting or sculpture until he got on the track of these remarkable little images, so poignant and austere, his own private visual poetry."
__For art critic Dorothy Walker, Mcgill is "an artist who makes exquisite, delicate, three-dimensional reliefs on a tiny scale, using actual objects to infuse his sophisticated metaphors with fresh, even startling, visual relevance. Realism can sometimes be confused with a certain brutalist approach to the subject matter, but Mcgill’s realism is entirely poetic, and his selection of tiny objects to carry quite a serious weight of ideas shows a particularly sure instinct that is becoming ever more skilled."
___In his latest body of work, Mcgill has also made a suite of paintings that open a dialogue with the sculptural work, sharing the same spare aesthetic and meditative calm.
___Michele Souter's latest body of work consists of skeins of paint in various colours, either singly or combined. The work strives for a harmony of form between lines thick and thin, light and dark, straight and curved. All the while, however, the colouring, orientation and sense of shape and space are highly evocative of nature - particularly the sea. The balance between control and chance that Souter maintains throughout her working process produces compositions teetering between calm and chaos, seeking a resolution beyond the edges of the pictorial plane.