SELECTED WORKS BY Dominic McGill
Graphite and collage on paper mounted on canvas
198 x 198 cm
Dominic McGillâ€™s works wear their extensive research on their sleeves. Using surfaces that range from wall-height enclosures to resin and gesso sculpture in intestinal loops and folds, his drawings combine collaged elements, drawn imagery, and, above all, a wild profusion of text deriving from a range of sources.
Architectural in scale, McGillâ€™s works envelop the viewer, generating an overwhelming sense of unbridled cerebration, as images beget text and vice versa. Weâ€™re in the eye of the brainstorm.
He Results As Cause Of Himself
Aqua-Resin, gesso, graphite, steel, wood, glass, linen
101.6 x 145 x 73 cm
The scale of his works might hint at McGillâ€™s purpose: to create a kind of contemporary history painting, in the knowledge of such a projectâ€™s anachronism. As the artist puts it, â€śhistory is politics by other meansâ€ť, and his caution about the partiality of historical certainties is reflected in his perpetually self-critical and contradictory works. Quotations from Christian texts run up against lines from Marxist screeds; common clichĂ©s abut fragments of political speeches.
Graphite on paper, mounted on linen (with Dr. Murat Cem Menguc)
203.2 x 630 cm
In McGillâ€™s evocation of contemporary uncertainty, everything is equally noisy and equally suspect. In Moloch, a collaged transcription of Max Ernstâ€™s 1937 The Angel of the Hearth (his nightmarish vision of German society under Nazi rule), the galumphing devil is composed of snippets of found photographs that suggest a dystopian contemporary deity, an updated version of the Biblical Moloch, a false idol. Yet there are no absolutes in McGillâ€™s work, and his textsâ€™ occasional reversal implies the potential for contradictory meaning at every turn.
Text by Ben Street