Photo: Clemens Habicht
‘ORE OF CYPRUS’
KRONENBERG MAIS WRIGHT, SYDNEY
FEB 17 - MAR 5, 2022
KRONENBERG MAIS WRIGHT, SYDNEY
FEB 17 - MAR 5, 2022
Left to chance and chemistry, the interactions of pigments producenuanced variations in tone, texture, and form. Gradual tonal shifts thatreveal themselves over a period of extended observation likenO’Callaghan’s paintings to Rothko’s transcendent late works. Thepaintings’ meditative quality is understood when considered in thecontext of her video and performance works. O’Callaghan’s paintings arethe result of a physical challenge that requires two people, working intandem, to manipulate the glass using their whole bodies. The physicalityof the process and it’s materially ambiguous results harken back to thelate 1960’s when Lynda Benglis heaved pigmented latex onto the floorfrom five-gallon paint cans and created works that were neither paintingsor sculptures but both. Extending this notion of all-inclusiveness to themaking of her paintings, O’Callaghan frames painting in terms of danceand ritual.
– Mara Hoberman in Artforum