Oil Painting from Observation WORKSHOP

Oil Painting from Observation Workshop

            

In my studio at New Art Studio, 2-3 Mary's Abbey, Dublin 7. just off Capel St.

Now taking bookings for both workshops on dates:

Saturday 27th April

Saturday 11th May

Focusing on still life, this 1 day workshop will explore oil painting techniques and the Still Life. The Still Life allows the student to learn many of the techniques of Oil Painting. Students will develop an understanding of oil painting and work with related mediums. Techniques including composition, colour, tone, drawing, observation, perspective, Grisaille and Alla Prima Painting will be explored on the day.

Students are required to bring their own materials (paints and still life objects). Materials provided are canvas boards, paper and handouts.

 Once registered I will send the full materials list.
This is a ONE day workshop, students are welcome to book both dates.

All levels are welcome.
Classes are small, 5 students
€60 for the day
11am - 4.30pm
lunch 1.30 - 2pm
tea and coffee provided

Please call 085 7139112 or email akeehan@gmail.com to confirm booking.

www.allysonkeehan.com

New Studio!

Last week I moved into a new studio, the New Art Studios, Mary's Abbey, Dublin. This is the second move in 6 months, but the last studio was really not inspiring me! Rather than forcing myself into the studio every morning, when the opportunity to move came my way- I grabbed it. The new studio is fantastic, with great facilities, great location, and supported by the Arts Council. I'm delighted with the new space, may it be blessed with productivity!!

http://www.newartstudio.org/

Inspiration?

Recently, I partook in a workshop in Firestation Studios, Dublin. A question was put to all participants; who's work are we inspired by?
Rothko, Rothko and more Rothko... He's my painting guru.

My second piece I thought of for the workshop was Matisse's 'The Red Studio' painting. I was thinking about it in relation to my 'Blue Studio Project Berlin', where I developed a series of photographs of an installation that I lived in for two months.

Bernadette Madden and the Art of Batik.

Bernadette Madden

Artist's Talk at the Royal Hibernian Academy 

Wednesday 24th October 2012

The lone wolf in the art of batik; Bernadette described some of the disadvantages of her chosen medium. The medium of batik is generally in the 'craft box' but Bernadette brings it into the realm of Art, and quite decisively at that. Bernadette explained the technique and her purist approach. An array of slides followed, which described her various projects over her 40year career. Her work from a trip to Greenland excited me the most. The abstract landscape paralleled with the abstract medium; the sublimity of the vast landscape of Greenland is reflected beautifully in the pale batiks and screenprints. 

Greenlandic Iceberg / Screenprint on Fabriano paper / 60 X 42 / Varied Edition 8

Her newer work of woodlands were vibrant and incredibly detailed. She uses up to 20 dyes when doing these complicated pieces.

 

 Autumn Red / Wax resist on linen / 51 X 66 cm

I always think that an artist talk should inform and educated you into the artist's world. Bernadette's talk delivered on both accounts.

www.bernadettemadden.ie

K2 Contemporary Izmir

I visited K2 Contemporary in early August 2012. A difficult place to find or even hear about. I have a loose contact with a gallery in Istanbul that sent me the link, (a google search of 'Art Galleries Izmir' doesn't bring them up.) Thankfully I had someone familiar with the area with me, or I doubt I would've found it! So while circling the beautiful old port-side building, we spotted the sign in the window on the third floor. 

The building was quite captivating, immediately I thought of 'From Russia with Love', a timeless Turkish place, standing still. Original Turkish tiles paved the long twisting corridors and an inner courtyard formed the centre of the building. This variety of corridors leads you through a hive of activity; art studios, art schools, offices, etc. An old c1920's lift, untouched by modernization enhances the scene of this bohemian building. Through our adventure of this wonderland, we came upon the Art Centre; a few rooms at the end of the corridor. 

I had some great photos of this wonderful building and art space, the quirkiness of a building that has had many reincarnations through the years! Unfortunately my camera was stolen a few days later, a story for another day... *sigh

A photographic exhibition hung inside the Gallery. Probably a student show, enough said about that. 

To be honest the space itself won my attention more, and I went about the space snap happy with my camera, visualizing my paintings on the walls... My partner and I discuss the work, the space, looked out the windows, examine the beautiful floors; though it's one room, we really did linger. A nice place to be.

We had a good chat with one of the staff. She filled us in on a few details about the place; the main programme won't start until September. I'll return in Autumn, I think to myself. They also put on an Triennial, the next one due to take place in 2013. She kindly gave a catalogue from 2010, which I've subsequently ploughed through hoping to get a better idea of the art scene in Izmir.

One line stands out from one of the articles; 'Izmir is a city where conservative, preservative people live, who resist the new' Borga Kanturk, pg 46. 

This, I fear, surmises the art scene in the city, as I asked 'Where do I go next? Where's the other galleries?' 

The answer; 'This is it! not many others really...' 

That said there's something very exciting about the place, a rawness or freshness, the lack of information available about it, the rarely updated website, the singular beauty of the lone gallery. Curious. 

6 month Residency at the Royal Hibernian Academy

I moved into the studio in January 2012, coming from the below zero temperatures of my previous studio in Henrietta street, I couldn't believe my luck. The charms of Henrietta Street could never compare to the luxuries of a heating system...

Purpose built studios in the extension of the recently refurbished RHA, consideration of the artists needs are taken care of. Storage, sink, running hot water, access to easels and tables, and shared kitchen, library and showering facilities! And most importantly- a lift! 4 studios circular the large studio/workshop area.

The large studio holds drawing sessions twice or so per week. Around 30 artists on each day, work from 2 models. I've attended these sessions for over 3 years, so the familiarity made it easy for me to settle into my new studio, by both having previous knowledge of the space and knowing a few of the people attending. There's a mutual respect during these days, between artists in the studios and the sessions... Trying to keep quiet and also leaving the studio during their break times. I realised quickly that I go in and out of the studio constantly- tea, toilet, lunch, tea, toilet, tea, tea, tea.... Need to cut down on tea!!! It's quite a privilege having life drawing at your disposal 2 days a week, and I take advantage as much as I can and get drawing.

Other workshops facilitated by RHA members happen intermittently, these are a real bonus! A little bit of ear wigging throughout the day, and chatting to everyone on their breaks and you get a little taste of what's going on in the workshop! It's always interesting to see different approaches to painting and how it's taught.

Towards the end of our residency, we- the residents- put on another Open Studio. In the early months we held one for the Friends of the RHA. This was a great success, as it was an opportunity to meet visitors to the RHA and introduce ourselves to a new audience in a more informal manner. As with every residency, it's what you put into it, and our group was quite active and made the most of its central location and people's curiosity!

During my time in the RHA, I put on a drawing show at Draiocht, and also completed a detailed Self-portrait in Oil Paint. Both of these were a departure from my usual, and also a bit of a challenge. Again, I feel that's one of the benefits of taking on the studio, I was willing to divert slightly with what I was making and was guilt-free about doing so! The set-up of the studios is so comfortable that it's easy to focus and get stuck in! Inspiration is everywhere, from the people you meet to the quality and diversity of work exhibited in the galleries.

I'd do it again in a flash! ......and did I mention the Craic?!

'Self Portrait After I Said Yes'

'Self Portrait After I Said Yes', 92 x 71cm, Oil on Linen, 2012. 

Documentation of the process of painting a self portrait from life, using only a mirror. Quite possibly the most difficult painting I've attempted! I started the painting 6th February and finished it 13th July 2012. It took the full 6 months on a residency in the Royal Hibernian Academy in Dublin. Thankfully it's a luxurious studio which allowed for long hours!!!

'Life Drawings' exhibition pics

                                          

Preview of 'Life Drawings' @ Draiocht

EXHIBITION OPENS 13th June 2012 19.00

Draiocht, Blanchardstown, Dublin 15

All Indian Ink on Paper, except one pencil

51 x 35.5cm + frame

 http://www.draiocht.ie/events/allyson_keehan/

LIFE DRAWINGS Exhibition

My next Exhibition Opens Wednesday 13th June at Draiocht Blanchardstown 19.00

Poised, elegant and sophisticated; Keehan’s depiction of the nude harmonises the academic tradition with gentle intimacy. Through the medium of Indian ink on paper, she gives a fluid lightness to the subject. Controlled and deliberate brush marks are juxtaposed beside happy instances of drips and bleeds, with watermarks giving life and movement to the subjects. The drawings are taken beyond the study of the human form and the models expression and identity come to life. Life drawing is seen as one of the enduring and most difficult themes in visual arts. Keehan’s approach is both expressive and considered, a complimentary extension of Keehan’s other work in oil paint. 

Born in Limerick in 1978. Keehan graduated from Byam Shaw School of Art (University of the Arts London) in 2004 with a MA in Fine Art, after completing a BA(Hons) Fine Art Painting in 2002 from Limerick School of Art and Design. Keehan has exhibited widely including London, Berlin and extensively through Ireland, including solo shows ‘Shimmeriing Synthetic Appearances; I Want To Put You Back In’ at Queen Street Studios Gallery, Belfast in January 2012 and ‘Lookie Likie; Mimetic Protagonist’ at The Molesworth Gallery in 2011. Keehan won the Merit Award in The Golden Fleece Award 2012. She is exhibiting in this years RHA Annual, and in January 2012 she started a six month residency in the RHA Studios. In 2010 Keehan undertook a residency in Takt Berlin. She now lives and works in Dublin.

Golden Fleece Awards 2012

Some really nice photos from the Golden Fleece Awards Ceremony in the RHA 6th March 2012  http://www.goldenfleeceaward.com/highlights.html

Allyson Keehan and Claire Kerr

Golden Fleece Award

WOOOP I got the Merit Prize!!!

http://www.goldenfleeceaward.com/artist_Keehan%20Allyson.html

Shimmering Synthetic Appearances; I Want To Put You Back In

Shimmering Synthetic Appearances; I Want To Put You Back In

Exhibition of recent work at Queen Street Studios Gallery Belfast
http://www.queenstreetstudios.net/index.php?option=com_content&view=article&id=47&Itemid=78

Ostrich Feather in Blue Light, Oil on Linen, 2011

Opens tonight 19th January, 6pm- 9pm
Artist Talk at 5pm...

Continues till 18th Feb 2012

Positions at Wandesford Quay Gallery

http://ccad-research.org/gallery/?p=653

Review in The Sunday Times 15th Jan 2012

POSITIONS at Wandesford Quay Gallery, Cork

GAIA PROJECTS 
IN ASSOCIATION WITH CIT CRAWFORD COLLEGE OF ART AND DESIGN ARE PROUD TO PRESENT:


“POSITIONS”



a group exhibition at the CIT Wandesford Quay Gallery running from Friday 6th January – 31st January 2012.

“Is the syntax that requires beginnings, developments and ends as statements of fact the only syntax that exists? That's the real question. There are other syntaxes.
There is one, for example, which demands that varieties of intensity be taken as facts. In that syntax nothing begins and nothing ends; thus birth is not a clean, clear-cut event, but a specific type of intensity, and so is maturation, and so is death.”
Carlos Castaneda: “The Active Side of Infinity”
Why do certain artists choose to follow traditional methods of creating art, while others feel free to make videos, performance and installation?
Is there a place for tradition within contemporary practice, or has today’s cutting edge art lost sight of skill and craft?
While a love for tradition may hold back certain artists from exploring new syntaxes, does the freedom to create anything in any way mean that contemporary art is being made in a vacuum? Or are both directions simply differing “intensities” of creation?
This exhibition seeks to explore the various artistic positions that artists have taken and why.


DERMOT BROWNE / KELLY RATCHFORD / GAVIN HOGG / ENDA O’DONOGHUE
NEDYALKA PANOVA / TOM CLIMENT / BRIAN DUGGAN / KIWOUN SHIN
NICHOLAS ROBINSON / ALLYSON KEEHAN / CHRIS DORIS
EOIN LLEWELLYN / AOIFE DESMOND / TINY LITTLE HORSE
MIGUEL SOARES / MICHAEL CULLEN
http://www.facebook.com/events/180749378688989/ 
Wandesford Quay Gallery, Clarke’s Bridge, Cork http://ccad-research.org/gallery/

INVITATION: Open Studio 3rd December 2011

            Open Studio at 7 Henrietta Street, Dublin 1.
            3 December. 12-6pm

After 3 years in this studio I'm moving out, so to acknowledge my time here and the work produced I'd like to invite you to come see the beautiful space and my work.
At the moment I'm working towards a exhibition in Queen Street Studios Belfast in January, so there's plenty of work on the go! Please see below for further details of exhibition...

The building is AMAZING, so bring along anyone interested in Architecture, History and Art... The building and street has a long tradition with artists, No.7 is now home to 9 artist studios, I'll confirm other names if they want to open their doors too...


I hope you can make it,
Thanks
Allyson







Shimmering Synthetic Appearances; I Want To Put You Back In
7 Henrietta Street           3rd December 2011                                                                                            Queen Street Studios    19th January- 18th February 2012
                                                                                                              

Rothko revered the communicative abilities of Art and the shared space between the Artist and Audience.‘I want to put you back in’ is a quote that relates to his practice and the impact of the spacial environment he created.

Keehan’s research into Rothko, Phenomenology and Painting Environments has brought her to this two part exhibition. The first part is an introduction to the process of the ‘Blue’ paintings by inviting people into her studio in an Open Studio, 3 December 2011. This, the primary environment of the paintings, is unfinished and a little crude. The audience witness the Blue Lighting, the ‘tent’ set-up under which the work is produced, as well as seeing the basic painting techniques used.

The second part of the exhibition is at Queen Street Studios. Here the ‘Blue Paintings’ are exhibited in a bright, clean gallery space. Removed from the components of their production, the paintings create their own blue impact and generate a submersion into the painting environment.

The two venues of the exhibition are in two separate cities, enforcing their divided stages. This is a step further from Keehan’s ‘Blue Studio Project’ exhibition in Berlin 2010, where both studio and gallery were in the same building though staged six months apart.

I Want To Put You Back In, also refers to the placement of objects in the Still Life and the objectless Still Life. The satin backdrop is the principle object in the paintings, followed by the Blue Light. After that tangible objects are placed in and around the picture plane to further emphasize composition and textures. The sparseness of objects in this manner, moves the work towards minimalism and the experimental abilities of realism.

Process of 'White Satin in Blue Light' Oil on Canvas 2010

I want to be painted by George Condo

Two fantastically amazing exhibitions on in the Hayward Gallery- George Condo and Pipilotti Rist. I’m a longtime fan of Condo, but I guess now that I have certain questions concerning parts of my painting practice some thoughts came to me about Condo’s technique. Condo’s use of paint is as peculiar as the content; some paintings have in parts a heavy use of medium, maybe liquin. This leaves patches of gloss beside (rather than on top of) matt areas of oil paint. The unregulated wet and dry look to the paintings can be distracting due to the reflection of the lights, but when compared to the content it exaggerates the mania within the composition.

In the large room, one wall is devoted to portraits. The Salon-style hanging adds to the Renaissance appropriation of painting styles used by Condo. I feel privileged, though slightly disturbed, by the glimpse inside his head; meeting the absurd characters that knock-about within. I particularly like ‘The Psychoanalytic Puppeteer Losing his Mind’ 1994, ‘Three Armed Man’ 2002, and ‘Escaping Figures’ 1998. 

Across from this wall are the three crucifix; Christ with the two thieves. My initial perception was of how brilliantly he depicted their torment and mania while hanging on the cross; bursts of colour exploding out of Christ with his bulging eyes, the other two thieves, equally distorted as the realisation of their slow death. However I was disappointed when I read that the burst out of Christ was confetti- I’m sure the poor fella didn’t feel much like celebrating… so I’ll stick with my first idea that it’s some kind of painful mania bursting out of his body… 

In Room 2, the walls are painted a burnt umber and fall back completely, which let the characters pop out. Condo captures the inner crazy in all of these characters. The accompanying text says we all know somebody like them, but I think it’s more- we all have one of them lurking beneath. I want him to paint me.

Allyson Keehan - What Draiocht Means To Me