•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
Saatchi Art
Saatchi Store
Current Exhibition

EXHIBITED AT THE SAATCHI GALLERY

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Nicholas Byrne
Untitled (Collar)

2007

oil on linen on board on wooden supports

50.5 x 35.5 cm
“When I was making this Untitled series I was sharing a studio with four artists who were making installation set-plays and film and this informed my approach to these works,” Nicholas Byrne explains. “It was important to me that the paintings evoked a visual response that was similar to how we appreciate the physical sensation of an object. Untitled (Collar) is small scale and conveys a kind of privacy. You might think of a surrealist tradition of game-play, where bodies cross into objects. I suppose these diamond shapes could be the teeth of a stylus or comb. A feeling of tension might arise, where optically the shapes and colours would promise to fold or collapse. The paintings are presented on architectural supports as I wanted them to demonstrate something physically active.”
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Nicholas Byrne
Hosier

2010

Oil on linen

140 x 70 cm
“Drawing is the basis of my work, though I don’t often have one image that I refer to in making something. Each painting is a different thing where an interior develops. I have an aesthetic idea or sensation of what this is, but it’s intuitively led. With Hosier and Cropper I wanted to make illustrations of the ’sinuous line’ which is a constituent element of the Rococo period. I’d read a passage in Jean Starobinski’s The Invention of Liberty that takes a picture of William Hogarth writing on sinuosity, about ’leading the eye in a kind of chase’. From tending to limit himself to writing about the ’pure geometry of the spiral’ Hogarth goes on to confess an erotic origin to his taste for the sinuous line: a childhood memory of a dancer with ’a ribbon entwined around a staff.’ It’s interesting how his desire could be felt in particular distances.”
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Nicholas Byrne
Cropper

2010

Oil on linen

140 x 70 cm
“I wanted to give various bodies to the template of the flame or tear-drop. The figure in Cropper has quite a flat shape like a paddle. It’s held in position by bright colour, acting like an outfit or veil with a grip on the figure. When you come to it on the first reading, perhaps the figure is recognisable like an icon, refined and solid like a letter of the alphabet. But on second reading, the forms might seem to come apart or be resistant. I score into the paint which can show the history of how the painting comes together and in Cropper this has the loose impression of fabric un-peeling. There is a map-like quality of a template or diagram. I made the paintings using sign writer’s brushes, so the image is threaded together and in this way it can also unravel.”
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Nicholas Byrne
Accent Support

2010

Oil on plexiglass

110 x 60 cms
“Thinking about the metals in the oil paint I was using led me to make a number of paintings on copper. Accent Support, a work on Plexiglass, is something different but follows on from this. To look at an image drawn on a transparent support you might become aware that the painting has two sides. Sometimes through the glass, you can see the backside of smeared paint, with the rear-end of the painting coming into play, acting together with what is drawn on the front, both sides adding up in drawing a figure. The material ground of a painting matters to me. I use supports to enjoy aspects of their character. The character of Plexiglass is softer than the brittle tension in normal glass and this helps to determine how the marks of the figure are drawn on.”
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Nicholas Byrne
Untitled (Boy)

2007

oil on linen on board on wooden supports

173.5 x 57 cm
“The paintings are loaded like ‘portraits’. They’re hung at head height and address people on this level, but for my part, I mean to keep an active subjectivity from one work to the next. In these small works I wanted to say something simple and balanced like ‘think of a head’. But the idea of a ‘head’ could be anything: be a collar, or arches, or a flower. Each time I tried to put this into a particular kind of physical negotiation. Untitled (Boy) is held in the frame by an arch of stiletto shapes. They are painted on thin supports, quite flimsy and highly-strung. They are intentionally made to seem insubstantial, perhaps not totally solid or stable. When I originally showed these works, the series was suspended on wooden supports in a concertina running through the gallery. Untitled (Boy) was the most complete image – a final figure in a melodramatic parade.”

OTHER RESOURCES

novelpublication.org
2010 Publication including work by Nicholas Byrne

axisweb.org
2010 Group show

kettlesyard.co.uk
2010 Group show

nordenhake.com
2010 Group show

frieze.com
2010 Review - Solo show at Vilma Gold

guardian.co.uk
2010 Review - Solo show at Vilma Gold

timeout.com
2010 Review - Solo show at Vilma Gold

re-title.com
2010 Review - Solo show at Vilma Gold

contemporaryartdaily.com
2010 Gallery of images - Solo show at Vilma Gold

tate.org.uk
2009 Group show

studiovoltaire.org
2009 Images and text for collaboration, NIcholas Byrne & Anthea Hamilton

thomaskratz.de
2009 Group show at Galerie Maragret Biedermann, Munich

projectspace176.com
2008 Group show

studiovoltaire.org
2008 Solo show

vilmagold.com
2007 Two-person show, Vilma Gold, London

marcfoxx.com
2006 Group show, Marc Foxx Gallery, Los Angeles

thereliance.co.uk
2006 Group show, Reliance Gallery, London

carlfreedmangallery.com
2006 Group show, Counter Gallery, London