Art Basel Miami Beach

Hall C, Booth G9

1–4 December 2016

Siobhán Hapaska, Snake and Apple, 2015, aluminium, artificial snakeskin, fibreglass, two-pack acrylic paint, lacquer, 185 x 80 x 50 cm / 72.8 x 31.5 x 19.7 in 
Additional Views

Callum Innes, Exposed Painting, 2016, oil on linen, 120 x 119 cm / 47.2 x 46.9 in

Willie Doherty, Loose Ends VI, 2016, diptych, pigment prints mounted on Dibond, framed, 107.6 x 161 cm / 42.4 x 63.4 in image size 
Additional Views

Willie Doherty, Loose Ends V, 2016, diptych, pigment prints mounted on Dibond, framed, 106.6 x 160 cm / 42 x 63 in image size

Brian Maguire, Apartments Aleppo, 2016, acrylic on linen, 290 x 270 cm / 114.2 x 106.3 in  

William McKeown 
Hope painting – the sky inside 2007
oil on linen
48 x 48 cm / 18.9 x 18.9 in 
Isabel Nolan, A rug for a nineteenth-century museum and a soft haven for the overawed., 2016, hand-tufted 100% New Zealand Wool, 15 mm Pile, 540 x 175 x 1.5 cm / 212.6 x 68.9 x .6 in 
Additional Views

Eoin Mc Hugh, nonsense object, 2016, oil on canvas, 47 x 37 cm / 18.5 x 14.6 in  

WILLIE DOHERTY
b. 1959, Derry, Northern Ireland

Since the 1980s, Willie Doherty has been a pioneering figure in contemporary art film and photography. At once highly seductive and visually disorientating, Doherty’s artworks begin as responses to specific terrains and evolve as complex reflections on how we look at such locations, or on what stories might be told about their hidden histories. For Art Basel Miami Beach 2016, Kerlin Gallery presents two photographic diptychs by Willie Doherty, both commissioned in 2016 for the centenary of the 1916 Easter Rising. From the series Loose Ends, they reflect on the relationship between landscape and memory, focusing on two specific geographical terrains: Moore Street, Dublin and Gola Island, Donegal. For more information click here

 

SIOBHÁN HAPASKA
b. 1963, Belfast, Northern Ireland

Siobhán Hapaska continually reconsiders the role of the object in contemporary sculpture. At the core of Hapaska’s work is a consideration of human relations. Accepting all the difficulties of our current global condition and its often violent opposing forces and conflicting ideologies, her work strives to find a position of balance and a sense of equilibrium. Hapaska goes about this with a dazzling array of materials, each loaded with history and multiple readings. These materials are persuaded into complex relationships of both potential energy and harmony. Often enigmatic in form, each work or installation betrays a sober exploration of emotion that is undercut with a sense of humour and always devoid of cynicism or pessimism. For more information click here

 

CALLUM INNES
b.1962, Edinburgh, Scotland

Callum Innes 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. For more information click here

 

WILLIAM MCKEOWN
b. 1962, Tyrone, Northern Ireland; d. 2011, Edinburgh, UK

The foundation of William McKeown's work and life was his belief in the primacy of feeling. His paintings took on the guise of objective minimalism and the monochrome, but presented us with so much more; nature as something real, tangible, all around us, to be touched and felt. Through subtle gradation of tone, a highly refined use of colour, and his enchanting, 'room' installations, McKeown created moments of exquisite beauty and bliss. He steered our attention not to the distant sky but to the air around us, to the openness of nature, the feeling of our emergence into light and our proximity to the infinite. For more information click here

 

EOIN MC HUGH
b. 1977, Dublin, Ireland

Eoin Mc Hugh creates imagery that is hyper-real and, at times, hyper-surreal. A fascination with the psychology of images underpins his practice, together with a conceptual interest in investigating the space between the image, the object and the idea. Working with meticulously crafted painting, drawing and sculptural collage, his work apprehends the everyday world in terms of its potential for the uncanny or grotesque abnormality. Where there is intended ‘madness’ in his work, there is also rigorous method. The artist has sought to find affinities with the Dutch Masters of the 17th Century, intensively examining painters such as the Leiden Fijnschilder painters, Vermeer, ter Borch and Metsu in order to reflect on their methods of creating light through colour. How the manifold phenomena of the world might be represented remains an ongoing puzzle. For more information click here

 

BRIAN MAGUIRE
b. 1951, Dublin, Ireland

A fiercely expressive painter, Brian Maguire approaches painting as a gesture of solidarity. He operates a truly engaged practice, compelled by the raw realities of humanity’s violence against itself, and the potential for justice. Maguire’s practice has historically focused on voiceless or marginalised groups, previously working in prisons, women’s shelters and mental homes. In 2010, his work began to focus on the Mexican city of Juárez, becoming ‘embedded’ with the crime reporters on the city’s newspaper El Norte to address the horrifying phenomenon of feminocido, the killing of women ostensibly due to their gender. More recently, Maguire has turned his attention to the situation in Syria, exploring the plight of refugees in both Europe and North America. For more information click here

 

ISABEL NOLAN
b. 1974, Dublin, Ireland

The startling objects of Isabel Nolan’s art take wildly unpredictable forms, but they are at the same time the fully consistent outcomes of a singular, searching artistic sensibility.  Nolan’s works evolve out of almost scholarly processes of investigation – intensive enquiries into cosmological and botanical phenomena, or analytical scrutiny of literary and historical texts. These contrasting means of representing reality (and of comprehending its infinitely various components) provide divergent points of departure for Nolan as she attempts to somehow account for the enduring strangeness of the world, even in its most intimately familiar forms.  For more information click here

 

MEDIA CONTACT
Rosa Abbott, rosa@kerlin.ie | +3531 670 9093