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Movement in Monochrome (Violet) Painting

Michael Hegarty

Ireland

Painting, Acrylic on Found Objects

Size: 19 W x 32.2 H x 0.7 D in

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About The Artwork

'Movement in Monochrome' (Violet) 19 W x 32.2 H x 0.7 D inches. Oval painting 48 W x 82 H x 2 D cm. There has been a tradition of monochrome painting throughout the twentieth century and particularly since the arrival of minimalism in the 1960’s. Artists like Al Reinhardt and Ellsworth Kelly come to mind, Kelly is a particular influence on my work. Monochrome painting is painting at its most essential… a canvas covered all over with one flat uniform colour. Here I disrupt the overall monochrome by separating it out into ten partly seen smaller rectangle monochromes which seem to move out beyond the confines of the oval stretcher. This reveals the substrata which is not neutral and the usual cotton canvas, but a pre-printed design that has a black and white drawing of various sized units in a rhythmic pattern. These stylised ‘little trees’ seems to echo the dispersion of the painted rectangles, while their curvature is echoed in the shape of the oval. They provide an underling rhythm to the movement of the violet rectangles.

Details & Dimensions

Painting:Acrylic on Found Objects

Original:One-of-a-kind Artwork

Size:19 W x 32.2 H x 0.7 D in

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Born and now living in County Cork Ireland. www.michaelhegarty.com Originally graduating in fine art from the Crawford School of Art Cork in 1981, my work instinctively reflected the art ideas of the time represented by movements such as firstly The Pictures Generation and then Neo-Geometric Conceptualism. Today I see my work grounded in concepts originating in these movements. Neo-Geo artists created artworks that were influenced by the style of earlier developments in twentieth century art –such as Minimalism, Pop Art, and Hardedge Abstraction. Grace Glueck, one of the key documenters of the movement, notes “The painters among the Neo-Geo movement consciously recycled geometric motifs of the 1960's and 70's in their canvases, but put them to new use, regarding their geometry as referential rather than abstract.” My paintings explore formalist abstraction through a post-pop/post-modern lens. On the one hand they seek universal truths, each painting is a manifestation of what is… a specimen of existence. On the other hand, from a pop art sensibility the paintings explore the topographic nuances of consumer culture, the vagaries of taste in the use of found fabrics from domestic interiors and the rotations of fashion and obsolescence. The oval format I use underlines the physicality of my paintings, which rely on a subtle rather than an impasto form of expression. It also references the quaintness of modernist abstraction; the utopian belief in new promises and shapes of the future, a future that certainly cannot be taken for granted any more.

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