Capitalocene is about the huge impact Capitalism is having on our environment and thus on our cultural, social and economic everyday lives.
Capitalocene points to the fact that Capitalism is unsustainable and will be destabilised by the problems it has created in the forms of pollution, climate change, deforestation, the disruption of land and habitations of indigenous peoples and people without political and economic clout or power.
These paintings, Capitalocene, echo the monstrous, loud, brash organism that Capitalism has become in its mimicry of Monoliths and age-old geological structures.
They mimic and twist the appearance and nature of monoliths while creating the illusion of being benign and age-old.
The Interior Space is the private space traditionally and historically allotted to women. In my paintings I enquire into the quality of an existence lived ‘within four walls’. Enclosure has been vital to our survival as a species. Of course, there is the knock-on effect of containment.
The private house or home hosts myriad human emotions. Many important events, large and small, take place there. My paintings range from the quiet and contemplative to the busy and patterned to point to the diversity of our experience within the home.
Colour and pattern are important in my paintings of interiors. The French Philosopher Alan de Botton says, ‘we are inconveniently vulnerable to the colour of our wallpaper’. I agree wholeheartedly, colour and pattern promote an atmosphere in a room to which we are susceptible even if we are unaware of it.
I paint areas of rooms that are of interest to me, not direct representations – there is a transformation of sorts.
A Family Story
I have always found fascination in family history and in how the past and its motivations shapes our present lives. Recently certain photos and other artefacts relating to my family background were uncovered in my father’s old family home in inner city Dublin. These objects seem to me a time capsule from the past, a quiet testament to how people lived during the early part of the 20th century. Much remains lost, gapped or hidden. What comes across to us as unwonted secrecy or reticence was perhaps prudent or wise from the perspective of the people living through those times. In one sense, perhaps, the ‘unknowableness’ of ‘back then’ is where imagination plays and art begins.
This project, A Family Story, receives its inspiration from the dust and must of these long-forgotten items. It imagines the effects and impact of Church, Work, Leisure and War – on working class people in Dublin during the tumultuous times of the foundation of the state, the Civil War, the Eucharistic Congress of 1932, and the First World War.