Thuring is interested in heavy industryâ€™s ratios of man to landscape and construction effort to function: the enormous amount of engineering that goes into industrial structures that perform relatively simple tasks. Thuring sees this cumbersome relationship and potential futility as inherent to the act of painting. The Industrialist was developed from an image of an unfinished girdered building. The hard geometry of the architecture becomes dissembled through Thuringâ€™s loose brush strokes, creating a space thatâ€™s both technological and human.
Caragh Thuring General Scenes of Unloading
Oil on linen
199 x 250 cm
Thuring often works directly on linen canvas and leaves its bare surface visible in many places. This replicates the aesthetics of a draught or blueprint. General Scenes Of Unloading is one of two paintings of a London docklands scene that Thuring made at the same time; this canvas contains all the imagery that she didnâ€™t include in the other painting. For Thuring, the docklands are a complete eco-system where each element has a function that is part of an interdependent network. She is interested in how machinery can exist as a created â€˜personalityâ€™ by dint of its manufacture or function. In her painting Thuring translates the scene intuitively; fragments of cranes, pipes, and security barriers become isolated and she highlights certain details while omitting others. Each separate vignette is painted in a delicate gestural way, like a cherished portrait.
Caragh Thuring View From Bridge 1937
Oil, ink and paper on linen
183 x 244 cm
Caragh Thuring Hardtack
Oil, rope and graphite on linen
183 x 244 cm
Caragh Thuring 409
Oil and gesso and ink on linen
244 x 335 cm
The black line that meanders through Caragh Thuringâ€™s 409 retraces the actual flight path of a glider over the Alps. Thuring recreates this event with minimal information: a building, mountain, aircraft, and line. Each element is rendered independently and in disproportionate scale. This creates a heightened awareness of the flat picture plane and exposes the multiple ways we understand space as an illusion. For example, the house rises from the bottom of the canvas, an assumed â€˜earthâ€™, and the mountain is much smaller, and made to look ephemeral or hazy, as if it was in the distance. The line of the flight path, pictorially at the fore, is â€˜aboveâ€™, looking down on everything else; it also looks like a map or a landscape paradoxically creating a solid ground.
artfacts.net Additional images and information â€“ Caragh Thuring
mythomania.co.uk Press release for Doubleuse at The Nunnery Gallery, group show featuring Caragh Thuring.
Doubleuse brings together contemporary practitioners who continue to draw on painting as a useful and functioning context, despite and because of its inherited difficulties.
rodbarton.com The artists in Hypersurface accelerate the prescribed languages of hand-made paintings and objects (or painted objects) by acknowledging their relationship to virtual and digital media. These artists make object/paintings in the understanding that the â€˜non-spaceâ€™ of the flat world of the computer screen and virtual terminal creates a complex relationship with the artist making and the object made in physical space.
maxwigram.com Imaginary Realities: Constructed Worlds in Abstract and Figurative Painting brings together 14 contemporary artists who employ the constantly expanding language of painting to build imaginary spaces that viewers are invited to enter, and to orientate and perhaps lose themselves within.
lounge-gallery.com Caragh Thuring â€“ Superscope, group show at Lounge, London.
Superscope seeks to reinvigorate 'end-game' reductive painting by exploding the medium of paint outwards. Within this re-contextualisation (which acknowledges the recent histories of â€˜support/surfaceâ€™ and â€˜postprocessâ€™ painting) the artists here both reference and challenge what it â€˜meansâ€™ to construct a painting within the framework of a â€˜layer upon layerâ€™ activity.
v22ashwinstreet.com Selected works by Caragh Thuring -
During a visit to Caragh Thuringâ€™s studio I was fascinated by an object she asked me to hold as she manoeuvred a large painting into position for my appraisal. It was a piece of paper about five feet long and one foot wide on which had been stuck, in rows resembling hieroglyphs, numerous photographic oddments culled from various sources and annotated with pencil, paint etc.
commentart.com Information on Caragh Thuringâ€™s participation in the group show Doubleuse at The Nunnery Gallery, London