Mark Francis

Mark Francis 
Zone 2016
acrylic and oil on canvas
150 x 120 cm / 59.1 x 47.2 in   
Mark Francis 
Construct 2016
acrylic and oil on canvas
150 x 120 cm / 59.1 x 47.2 in   

Mark Francis Reticulation
2014
acrylic and oil on canvas
214 x 153 cm / 84.3 x 60.2 in   

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Mark Francis 
Reflection, Refraction, Dispersion 2014
acrylic and oil on canvas
183 x 137 cm / 72 x 53.9 in 

Mark Francis
Deimos
2014
acrylic and oil on canvas
214 x 153 cm / 84.3 x 60.2 in  

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Mark Francis
Aquila
2013
acrylic and oil on canvas
153 x 120 cm / 60.2 x 47.2 in  

Mark Francis Pyxis
2013
acrylic and oil on canvas
135 x 135 cm / 53.1 x 53.1 in  

Mark Francis Voyager

2012
acrylic and oil on canvas
214 x 274.5 cm / 84.3 x 108.1 in   

 
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Mark Francis Lacus

2012

acrylic and canvas on canvas

61 x 61 cm / 24 x 24 in

Mark Francis Sigma

2012
acrylic and oil on canvas
214 x 274.5 cm / 84.3 x 108.1 in   

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Mark Francis Leda

2012

acrylic and oil on canvas

153 x 122 cm / 60.2 x 48 in   

Mark Francis Traveller
2007
oil and resin on board
214 x 312 cm

Mark Francis Shuttle
2006
oil on canvas
214 x 153 cm

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Mark Francis Refractor
2005
oil and resin on canvas
153 x 122 cm

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Mark Francis Mandrel
2003
oil on canvas
183 x 213.4 cm / 72 x 84 in   

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Mark Francis Pulse (Vibration)
1999
oil on canvas
214 x 214 cm

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Mark Francis Isolation
1998
oil on canvas
214 x 183

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Mark Francis Nucleus (Restriction)
1995
oil on canvas
213 x 183 cm / 83.9 x 72 in   

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Mark Francis Release
1994
oi on canvas
214 x 183 cm

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Mark Francis Veil II
1993
oil on canvas
183 x 153 cm

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Calibrate

1 March - 13 April 2013

Kerlin Gallery, Dublin

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Satellite
2013
Galerie Forsblom

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Field
11 September - 17 October 2009
Kerlin Gallery, Dublin

Dublin City Gallery

2008

Milton Keynes Gallery

2000

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Thomas Schulte 

2007

Pendulum
17 February - 24 March 2006
Kerlin Gallery, Dulbin

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Mary Boone Galley

1999

Kerlin Gallery 

1995

Manchester Art Gallery

1994

b. 1962, Newtownards, Northern Ireland.
 
Over the past thirty years, Mark Francis has made 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. An enduring fascination, for instance, has been the visual worlds made accessible by the matter-penetrating gaze of electron microscopes: the dark, scattered, interconnecting orbs or the variously taut and slack lines of his paintings have drawn their strange forms from imagery of the miniature universe, the realm of molecular structure and cellular association out of which all life is assembled. More recently, too, Francis’ art has looked outwards, taking as points of pictorial reference the graphic interpretations of data received by radio telescopes as part of astronomers’ efforts to chart distant zones of the cosmos. Such scientific advances in the power of perception have for Francis come to present vital challenges — and opportunities — for the practice of painting. 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.
 
Upcoming exhibitions include Abstract Painting Now!, Kunsthalle Krems, Austria, 2 July – 5 November 2017. Previous solo exhibitions include Peninsula Arts Gallery, Plymouth; Galería Pelaires, Palma de Mallorca (2016); Dirimart, Istanbul (2014); Abbot Hall Gallery, UK (2010); Dublin City Gallery, The Hugh Lane (2008); City Art Gallery, Manchester (1995); and a highly acclaimed retrospective exhibition at Milton Keynes Gallery (2000). His work was featured in Next Generation, Kunstmuseum St. Gallen, Switzerland and in Cream, Museum of Contemporary Art, Helsinki (2010). Francis’s work featured in the much-debated Saatchi Collection exhibition Sensation, Royal Academy, London and the Brooklyn Academy, New York, and in the touring exhibition Absolut Vision: New British Painting in the 1990s.
 
Francis is represented in numerous collections including Irish Museum of Modern Art, Dublin; Tate Gallery, London; Victoria & Albert Museum, London; Metropolitan Museum of Art, New York; de Young Memorial Museum, San Francisco; Museum of Modern Art, Miami; The Saint Louis Art Museum, St. Louis, Missouri; and Hugh Lane Municipal Gallery, Dublin.
 
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Mark Francis, There is Geometry…

Peninsula Arts, Plymouth University, UK

9 April – 28 May 2016

To celebrate its 150th anniversary, the London Mathematical Society has invited Mark Francis and George L-Legendre to create new work drawing on mathematical ideas. The resulting exhibition at Plymouth University is titled 'There is Geometry in the Humming of the Strings, There is Music in the Spacing of the Spheres': Conversations Across Art and Mathematics.

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Abbot Hall Gallery

Mark Francis

6 April 2010

The Independent

Then, not far from the bottom, he breaks that pattern by simplifying the mark-making, and changing the overall colour – a rich undersea blue breaks off all of a sudden, and yields space to a brilliant sunburst. It feels like that moment of change in a symphony, when violent agitation is transformed into something else. We are projected elsewhere.

- Michael Glover

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Galleria Rubin

Mark Francis

23 September 2005

ArtForum

With  only  a  cursory  glance,  Mark  Francis’s  paintings  look  abstract,  built  through  sign  and  color.  After  closer observation,  though,  the  origins  of  the  work  by  this  artist  from  Northern  Ireland,  who  for  years  was  a  leading  YBA  figure, are  revealed  as  completely  different  and  in  many  ways  unexpected.  His  art  is  directly  inspired  by  the  worlds  of  science, medicine,  botany,  and  the  natural  sciences.  The  images  are  taken  from  microscopes;;  they  are  enlargements  of  what lies  around  us  and  for  the  most  part  goes  unobserved.  This  exhibition  contains  roughly  twenty  works,  on  paper  and  on canvas,  in  which  clearly  delineated  black  marks  are  positioned  against  soft,  blurred  backgrounds  built  from  skillful glazes.  The  depth  of  the  exquisitely  pictorial  constructions  seemingly  refers  to  additional  dimensions,  a  formal  corollary to  Francis’s  conceptual  investigations.  These  are  microcosms  in  a  profound  and  dense  dialogue  with  the  surrounding macrocosm,  and  they  create  sometimes-­ambiguous  relationships  between  vision  and  representation.

Translated  from  Italian  by  Marguerite  Shore.

- Angela  Madesani

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Manchester  City  Art  Galleries

Mark Francis

07 May 95

Frieze

Francis’  paintings  work  best  when  they  do  not  so  readily  give themselves  up  to  simple  identification;;  when  the  elements  of the  pictures  avoid  immediate  recognition  and  there  is  a  sense of  a  tension  between  abstraction  and  figuration.  

- Mark  Durden

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