• Exclusive Collectors Edition Prints Are Available in a one time only format for the duration of this exhibition only.           Find out more here

  •  I remembered a rosy, concave, trembling membrane, a strange being consisting of one organ only, an ear (II).                                         Graphite on plastic. 27 x 27 cm. 2016

  • There behind the curtains something was going on, I don’t know what, but something that made me lose my patience. (I).                 Graphite on plastic. 27 x 27 cm. 2016  

  •  I remembered a rosy, concave, trembling membrane, a strange being consisting of one organ only, an ear (I).        Graphite on plastic.27 x 27 cm. 2016

  • Cont.  >>>>>

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    Limited Edition of 10 | Individually Hand Printed, Bespoke Box Sets of 14 Works From this Exhibition 

    Selected Individual Collectors Edition Hand Prints are available for the limited period of this exhibition. One time only format, one time only price.

    Available here  from David's Gallery Shop

  • With pride I now write that this occurrence did not disturb the rhythm of our work for even a second (I).                       Graphite on plastic.  27 x 27 cm.  2016 

  •  I know of nothing more dangerous (II).     Graphite on plastic. 27 x 27 cm.  2016   

  • But if you compare this with the tables, you will see side by side graphite and diamonds (I).                                 Graphite on plastic.   27 x 27 cm.  2016 

  • We have arrived at the terminus.  Oil on linen.  170 x 170 cm.  2016. 

  • Everything is so novel, so novel it is like a rainstorm (II).   Oil on canvas.   100 x 100 cm.  2016. 

  • According to our historians a meteorite fell hissing (I).  Oil on canvas.  100 x 100 cm.  2016 

    1. Everything is so novel, so novel it is like a rainstorm (I).   Oil on canvas.  100 x 100 cm.  2016 

  • Imagine a square, a living beautiful square (I).   Oil on canvas.   100 x 100 cm.  2016 

  • Imagine a square, a living beautiful square (II).  Oil on canvas.   100 x 100 cm 2016 

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  • Details of Selected Paintings

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  •  

    The representations found in the images that make up the compositions in this body of work, have been wholly stripped of their original context and recomposed to reveal a timeline that seems to reside somewhere between the alluded to events in “We,” and reality as it is described in the photograph.

    There is no definite edge. No place to pinpoint, that accurately describes a beginning, or an end. The paintings and drawings, tilt at something that isn't inherently present within each individual composition, a collapse, a crisis of some variety, a parallel timeline to our own?

    The material process for each work, acted as a kind of microcosm, a gesture, a parallel. Give up choice, and allow the machine and chance to dictate the subject. Interpret, reinterpret, cut-up and compose the subject. From the arbitrary, the definite is alluded to by cuts and crops. Allow the variability of paint, of organic matter, and attempted precision, to further obscure the original context, and distil a new portrayal.

    Each step is an act of interpretation. First by the machine, in trying to match images with a string of text fed to it by code. The connection between the sentence and the returned images generally failing to bear any similarity to one another. Any subtlety of meaning within the overall sentence being lost, and the subjects often being paired with individual words only. Then the further disruption and interference of the returned digital photographs, through cutting them up, digitally manipulating them, and grouping them.

    Utilising the illusions and conventions of oil painting to present an inherently flawed but smooth presentation of a reality. Foreground connecting to background, establishing the figure and subject in the environment, and depicting a series of events connected to something difficult to determine, that sits just outside the bounds of the frame.

    Each individual composition is loaded with the representations found in the original photographs, and carry that historical freight into the compositional space, but this is simultaneously nullified and continually recast in different roles by the process of cutting, cropping, grouping, drawing, painting and looking. Each composition then exists only as something for the next image to be contingent upon, leaving each singularly a kind of void, a null, but as a necessary presence, whereby the totality, or simply the next image might be understood. 

    The final individual compositions, and the body of work in totality, contain no one narrative, no one meaning as such, but are the residue of a material process that itself contains the primary motivations and questions that stimulated the work. 

    The work is attempting to describe something perhaps, but similar the Two-Hundred-Year War, that thing is just outside of view, just outside of experience, perhaps past, or yet to happen. When events occur beyond lived experience and are mediated by a system that is subject to the same flaws and corruption of any other, how do we read them, what underwrites the consensus, and what are we left with in the aftermath?                                                                                                                                                                                                                                                                                                                                                                                           David Haughey.     January 2017                                                                                                                                                                                                                 >>>>>>>>>>>

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  •              ACCORDING TO OUR HISTORIANS A METEORITE FELL HISSING                                              A brief essay by David Haughey.

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  •  In the science fiction novel We, by Yevgeny Zamyatin there is occasional reference to a “Two-Hundred-Year War.” An event that proceeds the principle story and sets the conditions for the narrative, and the society Zamyatin describes. The details of the catalysing epoch are never described in full. 

    The reader is left to speculate upon the crisis and the conditions that brought it about. What is certain, in the context of the novel, is the nature of the society that was born out of this cataclysm.

    This speculation, the detached observation of events, where the individual is not, and cannot be present to witness, is one of the central concerns in this body of work. With any occurrence largely read by digital means, how is the historical timeline composed and events concatenated? How does this lens affect reading, and position an “event” relative to any other moment, with only diffuse edges separating document and fiction in this arena?

    The society arrived at in the novel is technocratic, governed by machine logic, algorithm, and one government referred to as as “One State,” or in some translations “The State.”

    Browsing through any one of the many digitised photographic archives available to those of us with internet access, could lead you to the conclusion that the purpose of all human activity may be to make photographs. All varieties of photo. All subjects, from all angles, indefinitely, in a continual unfolding procession.

    How to interact with these archives became a pressing concern when initiating this project. The framework put in place to create the work, is a model of how images and data are found and referenced, revealing the flaws, the haphazard nature of search, and the evident human curation, not only of the archive, but the mechanics and structure of how we interact with any archive and its data. However, the framework also needed to allow for no fixed destination, no central ideological concern, the flexibility to accommodate and fold in daily events, and the slow process of painting and drawing.

    So the question came, what if the selection process were handed over to algorithm, the machine? What if the terms of the search were guided by a work of fiction? What if the “true representations” contained in photographic archives were further subject to manipulation and contrivance, and how might those manipulations be further affected by the condition of the individual making those changes, day to day?


     

  • DAVID HAUGHEY 

  •   According to Our Historians A Meteorite Fell Hissing