© Pádraig Timoney and Das Giftraum

Glol Stop
Cut Book Cover

32.5x26.5 (framed)
24x30 (unframed)
15.5x22 (book)

Edition of 3 +1AP

Pádraig Timoney’s practice incorporates a wide variety of media and techniques, encompassing photography, painting, sculpture and installation.

Drawing from autobiographical episodes, occasional observations, personal interests and events, Timoney’s works retain the uniqueness of each form of experience. Within his paintings, he deploys an expansive methodology, which includes abstraction, realism, text and graphics, chemical treatments and found objects–to construct unique sets of images. This amounts to an exploration of how paintings and their images are assembled, as objects and representations of phenomena. Timoney’s work is in part founded in the classical role of the artist, recording subjective experience. In other instances he treats the canvas as space for alchemical-like transformations where mental processes, ideas and experiences are materialised. Through various approaches to the reconstruction of images throughout his work–materially, cognitively and perceptually–Timoney plays out his imagination over a variety of surfaces.

Artists’ Statement:

“I try to find the right image for a thing that comes to mind- and I don’t want yet to rationalize or describe an underlying intentionality of selecting images or whatever.

I’m trying I suppose to still make excitement for the eyes. That a practice based in historicity and the present could find some new space. That there would always be, with the hand-made, coherence, distance, dirt, all that stuff that gets in your eyes when you open them in the morning. That you know, that you recognize, that you know you recognize, that you recognize maybe with a smile. Eyes talk, eyes already being the outmost stalks of brain tissue. They see thinking. The concepts, although present, have no more weight than the material. That there are echoes off every surface- our ears already deal with all that richness without thinking too much about it. That there is still space, even held open with pointy elbows, for this activity.”