11/10/2023 0 Comments Patricia mcdermott tidal pool![]() There is a spiritualism in this painting that happens in some of my work some of the time. I’ve built up the texture of the painting layer by layer with brush and palette knife. The reds and golds of the sky is absorbed and reflected back on to the rock face. The palette is an explosion of reds, orchres and orange. “Sunset” is from the same area as “At the Coast” but is in total contrast. When I look at this painting, I’m right back there…. Deep dark blue in the foreground, broken here and there with white waves, moving up to a haze and light blue where sea and sky meet at the horizon. Lush green grass sweeps to the edge of the cliff which in turn rises majestically out of the blueness. I like to think I capture the essence of the place on a typical Irish summer day. It’s the Wexford Coast again, not far from my favourite Hook. “At the Coast” is a painting I did in situ so it’s fairly representational. The movement and patterns left in its wake engages me completely. It can both destroy and renew, as with painting, struggle and redemption. ![]() “Sensitive Chaos” is my exploration of this theme as it’s a wonderful collaboration between science and art. The rhythm and movement of tides and weather create patterns and shapes. The rock formations around Slade Harbour and Hook Head are so powerful and dramatic and under the water there are hundreds of caves. ![]() I called the series “Passages” and it was to influence my work for several years. Sensitive Chaos (19 x 24, Acrylic on Board)ĭiving deep into the waters and sea caves of Hook Head is where I found inspiration for this painting and indeed an entire series. I have used this motif for many of my bog paintings and here under the orange/gold horizon is one of my typical bog pools. The fire is cleansing and a form of regeneration. There is great contrast between the realms of light and dark. My painting is homage to this festive tradition. The fires are being relit after hundreds of years on February 1st, Bridget’s feast day. Kildare along with a large flight of imagination. The concept came from the Fire temple of St. It’s abstract in its composition and is very rich in texture and colour. This painting is connected to both my goddess and landscape worlds. She reminds us of where we have come from and where we are going….but ultimately she continues to inspire and empower all who are open to her.īridget’s Fire Temple (51 x 46, Oil on Canvas) She is also the maiden, mother crone….life death and rebirth… a symbol of the cycle of life. Spirals and lozenges connect her to the language of the goddess and add to her mystery. Her fiery background of reds and golds enhances her darkness. This Sheela print has been very special, being part of many exhibitions. I was very flattered and honoured by her comments. Gimbutas said my hag reminded her of the frog goddess of Catal Huyuk (ancient Anatolia, modern day Turkey). Marija Gimbutas described her as a frog goddess in her correspondence with me during my original research and work with Sheela-na-gigs. I think her hunched up shoulders give her this as well as her typical Sheela like pose of squatting legs and hands pointing to her vulva. She is sexy and nasty in a “don’t mess with me way”. Of all my Sheelas I think this one is one of the most powerful personalities. Patricia came to see the original painting I did of this Carne Castle carving and also the silk screen print version I did of her. “The Hag in the Iron Wood” brought us together. Patricia Monaghan was one such dear friend and she found me through Sheelana-gigs back in 1997. Some of whom became lifelong friends and supporters. My painting journey has brought me in contact with some wonderful people My daily visits to my studio are the most consistent and constant routine of my life. ![]() But whether it’s a Sheela goddess or a Cill Dara Bogland my painting is always an emotional response to what I see and it’s something I’m compelled to do. I describe myself as a contemporary landscape painter but I have also spent years working on Sheela-na-gigs in a very representational and figurative aspect. My work can be located in the relationship between nature and paint.
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