Patricia Doherty
www.patricia-doherty.com
@patriciadoherty.visualartist
Statement:
My studio practice is predominantly focused on working with oil-based pigment on stretched linen or canvas support. I resist direct representation, working instead with the interaction of elements and materials to develop structures and forms which I then manipulate. This is a very instinctive and process-based activity which leads to ongoing transformations without the use of direct reference or source material. The paintings submitted for the Beep Biennial have emerged not so much from an accumulation of information but rather through a paring down of interests. Surfaces within the paintings have been worked through by using combinations of opaque and translucent layers; at times these may disguise or obliterate underlying forms or gesture, whilst other linear elements work to create part-scaffold or armature within the piece.
As observations and developments unfold over time, the paintings become the remainder of a thought process and build up very specific and independent compositions. Returning to painting always holds a fascination for me, particularly now as it exists within the speedy and visual overload of our hi-tech multimedia environment. It has always managed to change and reinvent itself yet in practice it remains unchanged. For me it remains current and significant in expanding our sense and understanding of visual language and attempts at prolonging the ‘viewer gaze’.
www.patricia-doherty.com
@patriciadoherty.visualartist
Statement:
My studio practice is predominantly focused on working with oil-based pigment on stretched linen or canvas support. I resist direct representation, working instead with the interaction of elements and materials to develop structures and forms which I then manipulate. This is a very instinctive and process-based activity which leads to ongoing transformations without the use of direct reference or source material. The paintings submitted for the Beep Biennial have emerged not so much from an accumulation of information but rather through a paring down of interests. Surfaces within the paintings have been worked through by using combinations of opaque and translucent layers; at times these may disguise or obliterate underlying forms or gesture, whilst other linear elements work to create part-scaffold or armature within the piece.
As observations and developments unfold over time, the paintings become the remainder of a thought process and build up very specific and independent compositions. Returning to painting always holds a fascination for me, particularly now as it exists within the speedy and visual overload of our hi-tech multimedia environment. It has always managed to change and reinvent itself yet in practice it remains unchanged. For me it remains current and significant in expanding our sense and understanding of visual language and attempts at prolonging the ‘viewer gaze’.
'Pearl Winters'
32 x 35cm
Oil on linen
2021
32 x 35cm
Oil on linen
2021