Art Basel Hong Kong

Hall 1C Booth 10

29th - 31st March 2019

Dorothy  Cross, listen, 2019,
carrara marble and oak table
75 x 80 x 51 cm / 29.5 x 31.5 x 20.1 in base
Additional Views
Mark Francis,
White Light (Ocean), 2018,
acrylic on canvas
214 x 153 cm / 84.3 x 60.2 in  
Willie Doherty,
Dreams of Security, Dreams of Infiltration, 2018,
diptych, framed pigment print mounted on Dibond,
107.5 x 160.5 cm each / 42.3 x 63.2 in each framed 
Liam Gillick,
Diversity Channelled, 2018,
powder-coated aluminium,
32 x 90 x 8 cm / 12.6 x 35.4 x 3.1 in 
Callum Innes,
Untitled No. 18, 2012,
oil on canvas
125 x 121 cm / 49.2 x 47.6 in   

Elizabeth Magill, Painted Veil, 2017, oil on canvas 31 x 31 cm / 12.2 x 12.2 in   

Kerlin Gallery is delighted to announce its participation in Art Basel Hong Kong 2019.
In Hall 1C Booth 10, it will present a selection of work by:
Media Contact: Elly Collins, | +353 1 670 9093
With support from Culture Ireland.
Dorothy Cross  (b. 1956, Cork, Ireland) examines the relationship between living beings and the natural world. A sense of place pervades her practice. Living in Connemara, a rural area on Ireland’s wild west coast, the artist sees the body and nature as sites of constant change, creation and destruction, new and old. Many of Cross’ works incorporate items found on the shore, including boats and animal skins, while others reflect on the environment. Works at Art Basel Hong Kong 2018 include sculptures, watercolours and photographic prints, many of which depict or use parts from sharks, a major motif in her work.
Willie Doherty (b. 1959, Derry, Northern Ireland) has been a pioneering figure in contemporary art film and photography. At once highly seductive and visually disorientating, Doherty’s artworks tend to begin as responses to specific terrains (most often mysterious isolated settings; places, we suspect, with a troubled past) and evolve as complex reflections on how we look at such locations – or on what stories might be told about their hidden histories.
Mark Francis (b. 1962, Newtownards, Northern Ireland) makes paintings of singular optical intensity — powerful, apparently abstract combinations of concentrated patterning and stark colour contrasts that are in fact principally based on what the unaided human eye lacks the power to see. His work draws significantly on discoveries about the form and substance of reality that result from technologically enhanced vision. If the grid structures of his paintings suggest continuing alertness to the legacy of artistic modernism — and so to its influential arguments about the specific, limited capacities of painting as a medium — this is a burden of history always understood in relation to the revelatory insights generated by contemporary science.
Liam Gillick (b. 1964 Aylesbury, England) is one of the most prominent and important figures to have emerged in international contemporary art since the mid-1990s. The diverse forms of his art—ranging across sculpture, installation, film-making, writing and other, widely varied, collaborative projects—often allude to pivotal moments in the history of modern and postmodern art. At Art Basel Hong Kong 2018, Kerlin Gallery presents a new powder-coated aluminium wall-piece by Gillick, using sleek horizontal forms, each colour-coded using the RAL system.
Callum Innes (b. 1962, Edinburgh, Scotland) is among the most significant abstract painters of his generation. His paintings are highly disciplined but also uncertain spaces, combining the controlled authority of monochrome geometric forms with ever-present traces of fluidity and an always-apparent tendency towards formal dissolution. Central to his distinctive artistic process is a dual activity of painting and ‘unpainting’. Innes begins by applying densely mixed dark pigment onto a prepared canvas before then brushing the wet surface with turpentine: strategically stripping away sections of the painted space before it has entirely settled and solidified.
Elizabeth Magill (b. 1959, Canada) is a painter of prodigious versatility and inventiveness whose work has always drawn from a wide range of visual sources. While she has often integrated photographic materials and processes into her painting, in a number of novel ways, her primary fidelity has been to the medium of painting, in all its bewildering variety.