E-213 – Work Revisions …
Sharon McCarthy
Visual Experiments
December 22, 2012
IN THE BLACK, The Black Mariah, Cork
Orange Sheet, PVA & Pigment, 2012
Orange Sheet, PVA & Pigment, 2012
Description: Orange sheet of paint – laid over three legged black metal frame. The raw material (the orange paint sheet) was handed over by me before the opening with no knowledge of what way the curators would decide to exhibit the piece, as an experimental collaboration.
December 12, 2012
OUTBOX – MA: ART & PROCESS 2012
F, P & T = ?, PVA & Pigment, 2012
F, P & T = ?, PVA & Pigment, 2012
Working with the open ended possibility of creating whatever colour is on the dulux colour sheet, I mixed pigments to make this colour to match a bed sheet. Beginning as approx. – 450 cm x 120 cm x 0.1 cm  sheet, and after heating it transformed in to a 30cm x 30cm x 30cm bundle.
Activation of different hues of H, Steel, PVA & Pigment, 2012
Activation of different hues of H, Steel, PVA & Pigment, 2012
Activation of different hues of H, Steel, PVA & Pigment, 2012
Size: 210cm x 40cm x 40cm.
Site responsive installation work, of steel, paint sheets, pigment, pva & water. The form refers to Bauhaus ideals of primary colours and primary shapes. The sheets are produced in graded tones by doubling the percentage of pigment for each layer. These sheets have a steel ring embedded in them, which is then fixed to the vertical supports. The performative nature of paint was instigated with the addition of the complimentary opposite, in the form of a liquid pigment mixture. In its own time this action was set off, and allowed to work its way down through the structure, towards an unpredictable ending.
B & H (Lime-Green) still life?, Assoertment of objects, PVA & Pigment, 2012
B & H (Lime-Green) still life?, Assortment of objects, PVA & Pigment, 2012
This site responsive work created for OutBox, Cork. Created from a 4’x8’ sheet of paint that was wrapped over an assortment of objects. Through natural and a little artificial encouragement this sheet moulded itself around the objects creating the outline shaped of what they were. I feel this can be seen as a new version of still life painting, as this carefully selected collection of objects are encased in paint. Similar to how paintings of the masters were made, this sheet too was made through a process of combining pigments and a binder. Except this process has embraced an idea of the everyday and dispensable, the industrial and the domestic, through using the source pigments that are used in the household paints of DULUX, combined with Poly Vinyl Acetate commonly known as PVA glue.
November 22, 2012
Idionumina: Graiguenamanagh, Co. Kilkenny
Wrapped form, 200cm x 30cm x 15cm, Pigments, PVA, Water, & Clothes Hangers, 2012
This site responsive piece – Wrapped Form, used the under-structure of banal clothes hangers to create the form for the sheets to attach to. Unbeknownst to me, the material combination create a flesh looking object, which I would like to homage to Chaim Soutine’s Beef Carcass.
Sheet 1 – assortment of pigments, 50cm x 120cm, Pigment, PVA & Water, 2012
Sheet M split, Pigment, PVA & Water, 20cm x 40cm approx, 2012
“For Idionumina, I wanted to create a site responsive installation using a restricted palette of colour and material to relate to the character of this slowly deteriorating room where Peggy Hughes last lived. Paint-objects were made and installed to highlight the subtleties left within the space, matching the old with the new. Knowing that Peggy was a painter, I wanted to respectfully translate my way of working with pigments and materials into this private environment.”
October 28, 2012
Different views of a draped sheet
Draped Sheet – Chair, Pigments, PVA & Water, (sheet size 240cm x 120), 2012
Description: 122 x 244cm. PVA, Pigment. This sheet of paint was the first large sheet I produced. Draping it over a chair suggested an association between the specific process of making it and historical painting references . Within this image the paint sheet appears as a fabric with its folds and creases as any normal sheet would have. Except on closer inspection this sheet is a plastic form, its glossy exterior is actually a fragile structure that cracks and smashes when trodden. The material has alchemical properties, converting liquid to solid, flexible to rigid, covering and exposing.
October 15, 2012
Heated sheet forms
  
 
These sheets became my first heating experiments.
Using what may be seen as an alchemistic process –Â creating a 3dimensional forms from the 2 dimensional pigment sheet. Molding what is flat to produce sculptural shapes of depth. Above all of that, creating a 3 dimensional space from a material that is used as a 2 dimensional covering for a 3 dimensional form e.g. paint for buildings.
May 15, 2012
Red Cloud
pigment dyed wood shavings
Size: c. 30cm x 30cm x 30cm. This red cloud of wood shavings created during my MA studies, and is from a series investigating the properties of un-framed colour in space. This piece floated in my studio space and has been a source for my wish to create something that is suspended in space.
May 19, 2011
Paint, Block
Recently shown in the Open House 4, Sirius Arts Centre, Cobh
This piece took a year to make and year to dry.
October 9, 2010
Paintfall III in the Plastic House, Dublin
Paintfall III in the Plastic House, Dublin in August.
March 18, 2010
Paint Pouring
Images of the Video Screen of Paint Pouring in SPACE INVADERS on North Main.
February 15, 2010
Work shown in the Backwater twenty 10 show.
PAINTFALL III
Image of work in situ at the CRAWFORD GALLERY.
This piece is in a series where I am exploring ‘the pour’ as an element that has connections to geographical formation and then in turn has an automatic relationship to humanity’s development. In this work I have not built up the surface, in contrast to PaintFall I & II.
How the materials I am using (liquid acrylic pigment and PVA) are water based, though they are synthetic and a first cousin to the combination that makes up plastic, they break down and are able to mix with water which covers 2/3 of the world. Oil paint can’t, weird – sorry I have spent to much time thinking on this.
January 8, 2010
Final piece from Artist-in-Residence in Carrigaline Community School
This piece was based on a map of the Carrigaline area. It was made with a group of 4th year students in Carrigaline Community School, during my nine week artist in residency there.
(Details: Paintscape, Arcylic x PVA, 4’x4′)
Sharon McCarthy 
