Selected works by Martin Maloney

Martin Maloney
Saplings

2004

Oil on canvas

244 x 213 cm

Martin Maloney’s collages operate like magazine imagery; fun is idealized by groups of people hanging out. Attention is always paid to the things that count: clothing, hairstyles, radios, and pets. But Maloney’s product placement seems more like evidence of unfulfilment than success.

Martin Maloney
Stroller

2004

Oil on canvas

260 x 231 cm

Martin Maloney makes social observation paintings, trendy and casual, like jeans ads, or thirty-something sitcoms. His anecdotal scenes are contemporary adaptations of the type of genre paintings, still life’s and portraits seen in historical paintings from artists such as Poussin, Vermeer, and Watteau.

Martin Maloney
Cul de Sac

2004

Oil on canvas

213 x 260 cm

He presents cheery views of life in the singles scene: humorous, awkward, and seductive despite the flaws. Maloney paints 30-somethings in a style that is smart-casual; layered references to art history patched together in faux-naïf. Rendered with all sincerity, Maloney injects a little bit of tragedy into PC-inspired happiness.

Martin Maloney
Public Sculpture

2004

Oil on canvas

213 x 260 cm

Painting versions of people he’s seen on the street, in his neighbourhood, in his grocery store, Maloney places them in delightful pastoral situations which both mirror and lovingly mock en vogue circumstance and fancy. His messy painting style is comically accurate, his figures are all too familiar, each one with an imagined personality and history completely unique to them

Martin Maloney
Planters

2004

Oil on canvas

260 x 213 cm

The urban landscape of London artist Martin Maloney is one that is colourful and matter-of-fact, not grey and grim. One could almost say defiantly cheerful. Maloney is an instinctive painter whose works display a vibrancy through much use of patterning and decoration.

Martin Maloney
Candy

2004

Oil on canvas

259.7 x 213.4 cm
Martin Maloney
Slade Gardens, SW9, 1995

2001

Vinyl collage

305 x 792 cm

With his first foray into large-scale collage, Martin Maloney replicates painting with thousands of individual pieces cut from coloured sticky-backed vinyl. He shares the secret of paint: a large pink mass for a face, a splotch of white and a line of yellow for a highlight, two semicircles of blue for eyeshadow. Loads of little stringy bits clumped together make a shaggy dog. This leisurely day in the park just isn’t as easy as it looks: this process is as intricate and labour intensive as assembling a Ravenna mosaic.

Martin Maloney
Cat Painting

1999

Oil on canvas

275 x 305 cm

Martin Maloney has a directness in making the complexity of colour relationships normally associated with abstraction come to life through figuration. He focuses on ordinary but significant details that are simply described with spontaneity and uninhibited pleasure.

Martin Maloney
Hey Good Looking (After Poussin's The Choice of Hercules)

1998

Oil on canvas

245 x 336 cm

Martin Maloney’s Hercules is one hot stud: Rod Stewart hair, chest merkin and red Speedos. Like in Poussin’s allegory, he’s pulled two birds, Vice and Virtue, and now has to make a choice. He’s already in like Flynn with Vice: a hot-tomato single mum with Christina Aguilera’s taste in clothes. But his eyes are leaning towards the Olivia Newton-John goody-goody – she’s gonna be no easy task. It’s Maloney’s contemporary twists that make this painting especially funny: Poussin’s finely rendered drapery is substituted with a beach towel, Vice’s sweet cherub’s transformed into a latchkey brat. A little divine romance for the high street.

Martin Maloney
Rave (After Poussin's Triumph of Pan)

1997

Oil on canvas

244 x 457 cm

Rave is a contemporary version of the seventeenth-century painting, borrowing both subject and composition. Transforming the master’s racy orgy scene (women, men, goats going for it under the hypnotic influence of horn music – painted with the very epitome of tasteful credential), Martin Maloney’s vision of a wild club night of Y-fronted-pantied dancers, and casual snogging seems positively tame. His intentional casual painting style transforms classic mythological high art into a tangible, intimately concerning scene for today .

Martin Maloney
Equal Opportunities

1999

Oil on Canvas

274.5 x 305 cm
Martin Maloney
Sony Levi

1997

Oil on canvas

173.5 x 298 cm
Martin Maloney
Sex Club (M&S-S&M)

1998

Oil on canvas

274.3 x 609.6 cm
Martin Maloney
Sex Club (Cowboys)

1998

Oil on canvas

274.3 x 609.6 cm
Martin Maloney
Sleeping Arrangements

1997

Oil on canvas

167.5 x 297 cm
Martin Maloney
(left) Sex Club (Cocktail), (right) Sex Club (Blow Job)

1998/1998

Oil on canvas/ Oil on canvas

274.3 x 914.4 cm/274.3 x 609.6 cm

Other Resources

artfacts.net
Additional information on Martin Maloney

the-artists.org
Additional information.

doffay.com - Anthony d'Offay Gallery
These new paintings are formal and informal group portraits. They show everyday relationships in familiar settings. Their vibrant colours, patterns and cheerful mingling of sex, races, and social background borrow a politically correct spirit of 1970s community murals, offering a sense of optimism and hope.

londonart.co.uk - Martin Maloney by David Gleeson
In 1997 Martin Maloney took part in a Red Square forum on contemporary art at the Royal Academy which I co-curated. On the platform, he said of making his work: "It should be something nice to do. If you are bored on a Sunday afternoon, you think: 'Shall I have a cup of tea, or paint a picture?' ". This was of course bravado on his part, but it identifies the fact that in Maloney's strategy the end-product is nothing, the attitude of the artist everything.

liverpoolmuseums.org.uk - Martin Maloney 'Bloomsbury Square WC1 1989'
Martin Maloney was born in London in 1961. He studied at the University of Sussex 1980-83, Central St. Martins School of Art 1988-91 and Goldsmiths' College 1991-93. His first exhibition was 'Sex Shop' 00 Gallery, Halifax, Nova Scotia. During the 1990s he held one-person exhibitions in London, Milan and Cologne and his group exhibitions included 'Die Yuppie Scum' Karsten Schubert Gallery London 1996, ‘Sensation’ Royal Academy 1997 and 'Neurotic Realism' Saatchi Gallery 1999. His most recent one-person exhibitions were at Anthony d'Offay Gallery London 2000 and 'Pastoral Painting' Delfina Project Space London 2001.

eyestorm.com - Martin Maloney feature
Martin Maloney's canvases are marked by a fresh and open painterly technique, with which he explores a greater degree of individual characterization than has generally been seen in recent figuration. An admirer of Picasso's ability to blend crudeness and beauty, Maloney is interested in the capacity of an image to be both comic and serious at the same time.

books.guardian.co.uk - Don't talk Maloney
A new book accuses Martin Maloney of representing the worst aspects of Britart. But Adrian Searle says the artist's simple style is not simple-minded.