Three paintings from a recently completed series called The Bog Forgives.
Acrylic and oil on wooden panel.
(Kaiser Caimo 2021)
Galleries
Hold Still #7
Oil on panel, 8×8 inches. (Last in the series)
These small oil paintings are part of a series that are partly
about the bog and bog bodies, partly about the isolation of lockdown, and partly about the stasis of Direct Provision.
Hold Still #6
Oil on panel, 10×10 inches.
These small oil paintings are part of a series that are partly
about the bog and bog bodies, partly about the isolation of lockdown, and partly about the stasis of Direct Provision.
Hold Still #5
Oil on panel, 12×12 inches.
These small oil paintings are part of a series that are partly
about the bog and bog bodies, partly about the isolation of lockdown, and partly about the stasis of Direct Provision.
Hold Still #4
Oil on panel, 10×10 inches.
These small oil paintings are part of a series that are partly
about the bog and bog bodies, partly about the isolation of lockdown, and partly about the stasis of Direct Provision
Hold Still #3
Oil on panel, 12×12 inches
These small oil paintings are part of a series that are partly
about the bog and bog bodies, partly about the isolation of lockdown, and partly about the experiences of asylum
seekers in Ireland, trapped in a kind of stasis, sometimes waiting
years in the abhorrent system of Direct Provision for their applications
to be processed.
underwater near Boat Strand, Co. Donegal. July 2021
Co. Donegal, July 2021
Most of my attention lately has been poured into a project that at one point I intended to be a quick, messy, angry zine about Direct Provision. Now it’s a shaping up to be a series of approximately 30 small mixed media paintings.
It’s taken me a while and a fair amount of experimentation to decide what combination of techniques would let me get as close as possible to the pictures I see in my head when I think about how I want this work to look.
I’ve been reworking some old abstract paintings where I’d messed around with gesso and impasto acrylic trying to generate texture using knives, clingfilm, anything that came to hand. A layer of gold metallic acrylic paint acts like trapped light so that later layers of darker oil paint are infused with warmth. These upper layers of burnt umber and sienna tones can be scraped back to reveal a kind of internal glow, like heat trapped in the earth.
txxtrrr