Paul Winstanley

Faith After Saenredam and Other Paintings

20th May - 1st July 2017

Paul Winstanley, Lost (After Saenredam), 2016, oil on gesso on panel, 72 x 66 cm / 28.3 x 26 in   

Paul Winstanley, Faith (After Saenredam), 2016, oil and gold leaf on gesso on panel, 72 x 66 cm / 28.3 x 26 in

Paul Winstanley 
Trial (After Saenredam) 2017
oil and gold leaf on gesso panel
66 x 78 cm / 26 x 30.7 in   

Paul Winstanley, Drawing for Trial (After Saenredam), 2016, pencil on paper, 100 x 120 cm / 39.4 x 47.2 in  

Paul Winstanley, Apostasy (Drift), 2017, oil and gold leaf on gesso panel, 96 x 112 cm / 37.8 x 44.1 in  

Paul Winstanley, Apostasy (Enrapture), 2017, oil and gold leaf on gesso panel, 96 x 112 cm / 37.8 x 44.1 in 

Paul Winstanley, Looking at Vermeer, 2017, oil and gold leaf on gesso on panel, 66 x 55 cm / 26 x 21.7 in  

Paul Winstanley, Sunlit Birch (Evening Moon), 2016, oil on gesso on panel, 58 x 35.8 cm / 22.8 x 14.1 in   

Paul Winstanley, Drawing for Faith (After Saenredam), 2016, pencil on paper, 100 x 100 cm / 39.4 x 39.4 in  

Paul Winstanley
Faith After Saenredam and Other Paintings
20th May - 1st July 2017

Kerlin Gallery is pleased to present Faith After Saenredam and Other Paintings, an exhibition of new paintings and works on paper by Paul Winstanley. The exhibition will open with a reception in the company of the artist on Friday 19 May.

 

In this exhibition, Winstanley reimagines lost paintings and drawings by the Dutch Golden Age artist Pieter Saenredam (1597–1665). Best-known for his depictions of whitewashed church interiors, Saenredam captured the restrained character of Dutch Reformation architecture and popularised a new style of realism in the 17th Century. His reverence for serene, deserted interiors, precise use of perspective and muted tones find an echo in Winstanley’s work, which has depicted similarly ascetic spaces in the past: British art schools during summer break, vacant walkways, veiled windows and empty TV lounges.

 

Winstanley began this body of work with Lost (After Saenredam), which recreates a missing Saenredam painting of Utrecht’s Mariakerk (1647) from a surviving, and technically accurate, preparatory sketch (1642). In a second work, Faith (After Saenredam), the artist shifts the viewpoint slightly to include a window and golden tapestry known to have existed in the church, rendering the tapestry in gold leaf. Made to the same dimensions, and using the same source material, the differences between these two paintings underscore the ambiguities implicit in reimagining such works.

 

This examination of pictures and picturing, of authorship and technical means, continues throughout the exhibition. Apostasy (Drift) and Apostasy (Enrapture) depict viewers, en masse, moving and stationary before semi-anonymous religious icon paintings in London’s National Gallery. In another work, a couple share a moment, gazing at a Vermeer painting. These paintings within paintings, also rendered with gold leaf, glow with an otherworldly light amongst the prosaic reality of the depicted museums. Each meditates on the act of looking: at the ‘fictional’ and the ‘real’; the ‘original’ and the ‘quoted’. Despite this layering and dismantling of authorship, Winstanley’s intention and expression is fully evident in this body of work.

 

Winstanley has exhibited widely since the late 1970s. Solo exhibitions include Tate Britain, London; Camden Arts Centre, London; Kettle’s Yard, Cambridge and Auckland Art Space, New Zealand. His work is represented in numerous public and private collections worldwide, including the TATE; the British Council; IMMA, Dublin; the European Parliament; New York Public Library; MoMA, New York and the Museum of Contemporary Art, Los Angeles.

 

For further information, please contact Rosa Abbott, rosa@kerlin.ie.


The Visual Artists' News Sheet

Paul Winstanley, ‘Faith After Saenredam and Other Paintings’

For a body of work, which at first appears classically representational and easily interpretable, ‘Faith After Saenredam and Other Paintings’ is, in fact, a magnificent exercise in ambiguity. 

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The Irish Times

Minimalism in the Dutch Golden Age at the Kerlin

23 May 2017

There is a clear affinity between the work of Paul Winstanley and Pieter Saenredam, a painter who flourished during the Dutch Golden Age in the 17th century. The son of an engraver, Saenredam was apprenticed as a painter and in time invented a subject matter with which he is forever identified: deserted church interiors. Remarkably, of his 50 or so surviving works, almost half centre on just two churches, Saint Bavo and the Mariakerk in Utrecht. Far from the pomp and luxuriance one might expect of church interiors, these Dutch Reformation interiors are usually white and spare to the point of austerity.

[…]

- Aidan Dunne

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The Guardian

Paul Winstanley

20 May 2017

Looking at Vermeer is a 2017 Paul Winstanley study of a couple gazing at the Dutch artist's painting Woman in Blue Reading a Letter. Executed with meticulous detail in gesso and gold leaf, the Winstanley image of an image within an image reminds us that going to a gallery can still be an experience as awe-inspiring as entering a great cathedral. Winstanley stresses the comparison with recreations of lost works by Vermeer's contemporary Pieter Saenredam in which deserted and whitewashed church interiors are afforded a pallid glow. 

- Robert Clark


RTÉ Arena

"Faith After Saenredam and Other Paintings", an exhibition by Paul Winstanley

19 May 2017

British artist Paul Winstanley explains the meaning behind his latest exhibition at the Kerlin Gallery - "Faith After Saenredam and Other Paintings" is inspired by Dutch painters Saenredam and Vermeer.

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