Selected works by Sarah Dwyer

Sarah Dwyer
Turning Vacancies

2012

Oil on linen

204 x 185 cm
Sarah Dwyer
The Day After

2012

Oil on linen

184 x 204 cm
Sarah Dwyer
Absolution

2012

Oil on linen

185 x 204 cm
Sarah Dwyer
Saudade

2012

Oil on linen

204 x 185 cm

Articles

SARAH DWYER
Modern Edition

A 2004 graduate of The Royal College of Art, Irish artist Sarah Dwyer's paintings are an imaginative cumulation of fragments - memories of images clipped from newspapers or magazines; painting techniques ranging from thin glazes to rapid, coarse brushstrokes; and, finally, a nod to historical masters and genres.
Dwyer's luxuriant swathes of compositional light and shade are, for example, reminiscent of Goya, while her more intricate arrangements of billowing form revel in the dappled, lucent glazes equally beloved by Pre-Raphaelites such as Holman Hunt and Millais.
Like many recent abstract artists, Dwyer's sumptuous works inhabit a space arrived at via the processing of multiple figurative referents, a rich blend of intuition, invention and control.

Read the entire article here
Source: modernedition.com


SARAH DWYER
September 25th, 2009, by Darlene Molnar, The House That Lars Built

I had planned to profile a certain Brazilian painter of pop art exhibiting during London Design Week. Buuuut, when I learned he'd been arrested recently for a DUI I thought I should flip the script and find someone without a convict cloud above them. That’s when a coworker suggested checking out Sarah Dwyer’s exhibition, which was taking place just a few tube stops away. It was the first I heard of Sarah but her bio said she was Irish and I’m headed to Ireland this weekend so it must be fate, right?
The title of Sarah’s Exhibit, Hands Stuffing a Mattress, perked my curiosity. What stuffing a what? She named her exhibition after fellow painter Philip Guston’s inability to make comments about what his paintings meant once saying, “You know, painting is like hands stuffing a mattress.” I’m no painter, but I’ll take that explanation and check it out. And I am so glad I did…

Read the entire article here
Source: thehousethatlarsbuilt.blogspot.com


ARTIST MEMEBER- SARAH DWYER
Statement- Sarah Dwyer, Contemporary Art Society

Dwyer is fundamentally an abstract painter, yet elicits a strong need to cope with tangible things. Curious amorphous forms are constructs of her memory, where half-remembered fragments of found imagery (magazines and newspapers) or various experiences are mapped out, often imbued with an historical aura.

Such visions are then drained of their original meanings, where transparent thin veils of paint lie alongside coarse brushstrokes & rough textures. Canvases are often worked on simultaneously then left to gestate in the studio; old works are revisited and remade - undergoing a continual process of editing and refining, subsequently retaining something of their past through the paintings’ multiplicity of layers. This sense of the passing of time attempts to slow the viewer, revealing periods of objective contemplation and a keenly developed intuition.

While gesture and action predominate in her work, be it the fluctuating rhythms in her application, or the painting and rapid erasure of certain forms, Dwyer possesses the freedom to instinctively trust and follow her imagination. Her interest in the light created in historical paintings, and her re-workings of imagery that has caught her eye; specifically an affinity with Goya’s inclination for fantasy and invention where the layering of imagery emerges from dark recesses, all allude to certain thought out motivations. Yet the importance for Dwyer is to act both consciously and unconsciously – to be as content not knowing as to be somewhat in control.

Read the entire article here
Source: contemporaryartsociety.org


SARAH DWYER:HANDS STUFFING A MATTRESS
September 2009, Fadwebsite

Dwyer is fundamentally an abstract painter, yet elicits a strong need to cope with tangible things. Curious amorphous forms are constructs of her memory, where half-remembered fragments of found imagery (magazines and newspapers) or various experiences are mapped out, often imbued with an historical aura. Such visions are then drained of their original meanings, where transparent thin veils of paint lie alongside coarse brushstrokes & rough textures. Looking at a Dwyer painting is like gazing into Ophelia’s pond; beneath the surface lie strange reflections and beneath that, perhaps another pond. Canvases are often worked on simultaneously then left to gestate in the studio; old works are revisited and remade – undergoing a continual process of editing and refining, subsequently retaining something of their past through the paintings’ multiplicity of layers. This sense of the passing of time attempts to slow the viewer, revealing periods of objective contemplation and a keenly developed intuition.
While gesture and action predominate in her work, be it the fluctuating rhythms in her application, or the painting and rapid erasure of certain forms, Dwyer possesses the freedom to instinctively trust and follow her imagination. Her interest in the light created in historical paintings, and her re-workings of imagery that has caught her eye; specifically an affinity with Goya’s inclination for fantasy and invention where the layering of imagery emerges from dark recesses, all allude to certain thought out motivations. Yet the importance for Dwyer is to act both consciously and unconsciously – to be as content not knowing as to be somewhat in control.


Read the entire article here
Source: fadwebsite.com