Bags Waiting, Night
2014 by Mairead O’hEocha
mother’s tankstation, Dublin (seen at Frieze London 2014)
mother’s tankstation – near the Guinness factory in Dublin – had a great stand at Frieze London 2014. Centred by Ara Dymond’s surrealist looking sculptures – organic-like forms that hang angularly, they are in fact ‘hoodies’ dipped in resin – the walls were lined with the paintings of Mairead O’hEocha, inviting our eyes into her mysterious and painterly way of seeing. O’hEocha appears to translate reality through the process of painting, casting objects or shapes with an angular stroke of a brush. They are not impressionistic flutterings but geometric interpretations, where something as collapsable as a soft bag is transformed into a pile of angular shapes. This unfolding of the world in shape gives a great sense of depth and perspective to O’hEocha’s paintings that, though small in size, hold our gaze. Alhough they are sharply angled, O’hEocha’s paintings are far from strictly graphic, as her lines are interspersed with colour so textured we see the melting of tones through the ripple of hairs on the brush. This pattern of block colour and textured brush strokes gives the painting itself a changing surface, with subjects appearing in a melody of emphasis. In Bags Waiting, Night the bags appear waiting in a line, their shadows cast in colourful shapes that creep across the floor. A blur of lights in the dark is caught in the mustard yellow stroke across the enveloping black of background; a scattering of marbled brush strokes its reflections caught in the night. The angle of the little bird is triumphant; perched and raising its breast, its presence is touching in O’hEocha’s otherwise industrial – perhaps edging on bleak – scene. O’hEocha’s quiet palette of soft pastel colours gives her painting an integrity – a subtly muted and thoughtful portrayal of the world.