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I have grown accustomed to imposing certain limits and structures when I paint. These processes have evolved over the years and moulded to form and fit my practice: I paint triptychs, mix my own paint, fabricate my own tools and use a limited palette of roughly 10 colours. These are my choices, they constitute my paintings.

 

The work of the painter and the world of the artist’s studio often seem to exist in contradiction to accepted concepts of ‘working’ in our contemporary culture. To choose to be a maker of something, without a clearly defined purpose, in our society is something artists must constantly deal with in their work.  As a painter I explore these contradictions through the working methods I implement, stressing the routine and physical labour aspects of working as an artist.

 

I have constructed a practice that explores painting as a work ethic, whilst also examining what a painting might mean to a viewer, and whether or not the things I make in the confines of my studio might have an impact on those who view them. I am interested in the time spent by the viewer, in front of the canvas; I wonder what they think, and if they consider their time spent as worthwhile.
I have grown accustomed to imposing certain limits and structures when I paint. These processes have evolved over the years and moulded to form and fit my practice: I paint triptychs, mix my own paint, fabricate my own tools and use a limited palette of roughly 10 colours. These are my choices, they constitute my paintings.

 

The work of the painter and the world of the artist’s studio often seem to exist in contradiction to accepted concepts of ‘working’ in our contemporary culture. To choose to be a maker of something, without a clearly defined purpose, in our society is something artists must constantly deal with in their work.  As a painter I explore these contradictions through the working methods I implement, stressing the routine and physical labour aspects of working as an artist.

 

I have constructed a practice that explores painting as a work ethic, whilst also examining what a painting might mean to a viewer, and whether or not the things I make in the confines of my studio might have an impact on those who view them. I am interested in the time spent by the viewer, in front of the canvas; I wonder what they think, and if they consider their time spent as worthwhile.
I have grown accustomed to imposing certain limits and structures when I paint. These processes have evolved over the years and moulded to form and fit my practice: I paint triptychs, mix my own paint, fabricate my own tools and use a limited palette of roughly 10 colours. These are my choices, they constitute my paintings.

 

The work of the painter and the world of the artist’s studio often seem to exist in contradiction to accepted concepts of ‘working’ in our contemporary culture. To choose to be a maker of something, without a clearly defined purpose, in our society is something artists must constantly deal with in their work.  As a painter I explore these contradictions through the working methods I implement, stressing the routine and physical labour aspects of working as an artist.

 

I have constructed a practice that explores painting as a work ethic, whilst also examining what a painting might mean to a viewer, and whether or not the things I make in the confines of my studio might have an impact on those who view them. I am interested in the time spent by the viewer, in front of the canvas; I wonder what they think, and if they consider their time spent as worthwhile.

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Modern Times 3

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Modern Times 3 Painting

Eoin Francis McCormack

Ireland

Painting, Oil on Canvas

Size: 84 W x 60 H x 3 D in

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About The Artwork

I have grown accustomed to imposing certain limits and structures when I paint. These processes have evolved over the years and moulded to form and fit my practice: I paint triptychs, mix my own paint, fabricate my own tools and use a limited palette of roughly 10 colours. These are my choices, they constitute my paintings. The work of the painter and the world of the artist’s studio often seem to exist in contradiction to accepted concepts of ‘working’ in our contemporary culture. To choose to be a maker of something, without a clearly defined purpose, in our society is something artists must constantly deal with in their work. As a painter I explore these contradictions through the working methods I implement, stressing the routine and physical labour aspects of working as an artist. I have constructed a practice that explores painting as a work ethic, whilst also examining what a painting might mean to a viewer, and whether or not the things I make in the confines of my studio might have an impact on those who view them. I am interested in the time spent by the viewer, in front of the canvas; I wonder what they think, and if they consider their time spent as worthwhile.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:84 W x 60 H x 3 D in

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The work of the painter and the world of the artist’s studio often seem to exist in contradiction to accepted concepts of ‘working’ in our contemporary culture. To choose to be a maker of something, without a clearly defined purpose, in our society is something artists must constantly deal with in their work. Acutely aware of this as a painter, I explore these contradictions through the working methods I implement, stressing the routine and physical labor aspects of working as an artist. I have constructed a practice that explores painting as a work ethic, whilst also examining what a painting might mean to a viewer, and whether or not the things I make in the confines of my studio might have an impact on those who view them. I am interested in the time spent by the viewer, in front of the canvas; I wonder what they think, and if they consider their time spent as worthwhile.

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