Ryan McGinness EXHIBITED AT THE SAATCHI GALLERY
Under Five Chairs Psychiatrists Wink
acrylic on canvas
182.9 x 457.2 cm
Drawing from his background in the design industry, Ryan McGinnessâs work resolves the clinical graphic aesthetics of media as vast, contemplative fields of intimate meditation. Under Five Chairs Psychiatrists Wink is set across three panels, each beaconing with a baroque entrancement. Woven together with delicate intricacy, McGinnessâs forms converge in a kaleidoscope of free-flowing associations: Stylised motifs, calligraphic patterns, and abstracted tattoo-like insignia overlap in arabesque mandalas. Framed within rich black and red planes, McGinnessâs painting is reminiscent of ancient tapestries, fabricating the iconography of contemporary experience as spiritual and timeless.
Arab Cadillac Generator
acrylic on wood panel
Partaking in mark-making as a timeless form of communication, McGinnessâs process of painting is devoid of the artistâs exclusive gesture. His ultra-smooth surfaces are embellished through veneers of spray paint and silk-screen, coining seamlessly manufactured fields free from personal contact. Although he replicates styles and designs that seem innately familiar, McGinnessâs iconography is entirely his own. Effecting a âcopyâ for which there is no original, McGinness presents a system of signs and signifiers that are infinitely unfixed and universal. Using typography as a tool of abstraction, McGinness exceeds the notion of painting as objective field; instead, his work reconstitutes beauty and spirituality as a bi-product of technology and virtual experience.
acrylic on wood panel
121.9 cm in diamete
Extending beyond Popâs elevation of marketing logos to art, McGinness pushes his work into the realm of the commodity. His output spans from traditional paintings to video, installations and a range of consumer products, fusing high and low culture through the language of advertising. In MKULTRA â titled after the 1950s CIA mind control project â McGinness presents a trippy amalgamation of symbols and patterns on a circular panel. Set on a red background, McGinnessâs entwined logos concentrate sensations of uneasy exotica in their Eastern influenced aesthetic. Using graphic design as subterfuge, McGinness explores the intrinsic cultural narratives contained within generic form.
acrylic on linen
243.8 x 243.8cm
In An(n)us Mirabilis, Ryan McGinness wittily subverts the title of Einsteinâs pivotal publication with abject humour. Spiralling from a central âorificeâ, McGinnessâs scrivenery exudes a hypnotic quality as flourishing interlaced scripts create a beaconing pattern in their subtle shift of colour. Replicating the corporeal reference of hair and visualising the virtual field of information, McGinnessâs An(n)us Mirabilis seduces with its graphic perfection. Expanding in a field of weightlessness and disorientation, An(n)us Miraibilis frames desire and detachment as an aperture into the infinite.