VICKY SMITH
  • EXHIBITIONS
    • NEW WORK
    • DRAWING ON DON QUIXOTE
    • SOMEWHERE BETWEEN PERCEPTION & REALITY
    • C40, ONE CITY AT A TIME
    • MATERIAL CONDITIONS
    • HOUSEWORK WIFE WOMAN
    • A FINAL SOAR INTO ORBIT
    • 126 Artist Led Gallery, Flood Street
    • House of Blindness, PS2, 2014
    • RUA RED Winter Open 2013
    • Megga Bubble Space Burbs, Galway Arts centre, 2013
    • Marks of Modelers and Turners but with Clothes, Too Many Dinner Parties, 2013
    • Chemist Service Installation, Brigit's Gardens 2011
    • #008000, THE SHED, 2012
    • UTCP Collective, 2012
    • Berliners in a Car, SPECTRUM OF ACTIVITY, 2011
    • Perambulatory Rhetoric's, THE NILAND GALLERY INSTALLATION 2011
    • Art & Style Installation , Brown Thomas.
    • Fragmentary Sites Installation INFLUX, 2011
    • Three Ages of Women, 1998
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Somewhere between perception and reality’
An exhibition first presented at VUE 2018, Ireland’s National Contemporary Art Fair (1-4 November, RHA, Dublin)
Olivier Cornet Gallery, opening Sunday 9 December 2018 runs until 17 February 2019. For VUE 2018, I have used oil and acrylic paint on a domestic dining table place mat, a small mat underneath a persons dining plate, used to protect the table form the heat of the food. I collaged fragments of former paintings together to form a textured background on which the place mat lies. The poised women are framed within the mat to create a collective group composition of painted out identities, inspired by the famous Astronaut Wives photograph on the cover of Life magazine, September 21, 1959. The group composition is familiar yet allows the viewer to bring their own interpretation of truth and reality to the table. I painted a hooded pillowcase effect on their faces to suggest a neutrality within the group, perhaps under threat, in need of some protection, menacing as this may look but collective in their cause suggest Guantanamo Bay prisoner's, the Pussy Rioters, the Women's Rights' movement and #MeToo campaign. Their reality is considered in this painting and how it is perceived is open to interpretation.

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