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Martin Doyle
นิทรรศการเดี่ยวครั้งที่ 4 ของ Martin Doyle
Martin Doyle เป็นศิลปินชาวอังกฤษที่ผันตัวเองจากนักโฆษณามาเป็นศิลปินเต็มตัวที่เชียงรายเมื่อ 10 ปีก่อน ก่อนหน้านั้น Martin ทำงานเป็น Art Director, Creative Director และผู้กำกับภาพยนตร์อยู่ในเมืองใหญ่หลายที่ ทั้งลอนดอน, ซิดนี่ย์, เมลเบิร์น, สิงคโปร์ และกรุงเทพฯ
ศิลปกรรมของ Martin เป็นเรื่องราวของสิ่งของ ผู้คน และสังคม บางครั้งก็ดูเสียดสี หรือสงสัย คล้ายคำถามที่เขามีต่อสิ่งต่างๆ ทั้งทัศนคติ ความคิด ความรู้สึกของผู้คนต่อสิ่งที่เกิดขึ้นในสังคม บางครั้งผลงานของเขาก็คล้ายกับงานภาพประกอบที่เน้นความสมบูรณ์ของภาพมากกว่าสิ่งอื่น แต่ผลงานของเขาก็มีเสน่ห์ในการจัดวางองค์ประกอบ และการใช้สีสันที่เหมาะสม แฝงแนวความคิด มีนัยยะให้อิสระแก่ผู้คนติดตามตีความ โดยเฉพาะกับผลงานในชุดนี้ของเขา ที่เขียนกรอบลงในภาพ ให้ความฉงนกับผู้ชมว่ากรอบคือภาพหรือภาพคือกรอบ
พบกับงานของ Martin Doyle ที่ 9 Art Gallery / Architect Studio เชียงราย พิธีเปิดนิทรรศการ
วันที่ 24 มีนาคม 2560 เวลา 19.00 น. และนิทรรศการจะมีไปถึง 24พฤษภาคม 2560
หยุดวันจันทร์ สอบถามข้อมูลที่ โทร 053-719110, 083-152-6021
Frames. The 4th solo exhibition by Martin Doyle.
24th March – 24th May, 2017
9 Art Gallery / Architect Studio
ChiangRai , Thailand
Opening hours : from Tuesday to Sunday
from 10 -19
info : artgallery9@hotmail.com Phone : +66(0)831526021
Opening Friday 24th March, 2017
Martin Doyle
Martin Doyle is an English artist who moved to Chiang Rai around ten years ago to concentrate full time on his art. Prior to that Martin had worked as an art director, creative director and film director in London, Sydney, Melbourne, Singapore and Bangkok.
Martin Doyle’s work is eclectic, continually shifting in style and subject. From exploring the unique possibilities of wood as a surface for portraits and big graphic statements to a series of large flat colour canvasses that addressed the social and political turmoil of Thailand 2014.
He has no desire to repeat himself or to develop a recognizable technique and theme that he could produce again and again and again.
Frames. The exhibition features his new work that integrates the frame as part of the idea and part of the painted surface as well as two pieces that echo the idea of a “painting within a painting“. |
| FRAMES. Acrylic on canvas . |
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Siamese Actor 1900.
Acrylic on Canvas 120 x 100 cm. |
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Siamese Actor 1900.
The first frame. A simple almost home made frame and an image
of a Siamese actor dated 1900.
The illusion worked and the first people who saw it just thought the
frame was real. |
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Mother and Son
Acrylic on Canvas , 100 x 70 cm.
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Mother and Son.
I had never painted the King before but had researched images
for a different project and this particular photograph had always been
a favourite. A great diagonal graphic and a true sense of tenderness.
I painted a simple gold frame that could be found in thousands
of homes across Thailand.
Sadly, just a week or so after I began the King passed on. |
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Blackstar.
Acrylic on Canvas , 40 x 30 cm. |
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Blackstar.
2016 was a terrible year for the famous and irreplaceable. For me
Bowie was a particular loss. From Ziggy concerts in my art school days
to the Reality tour (his last) in my dwindling days in Australia, Bowie
had been, and forgive the cliche, the soundtrack to the timetable of
my life.
The first instinct was to a do a big painting (I did later) but decided
to do something small, precious and intimate.
His final Blackstar image, ButtonEyes as some called it, had a
crumpled, decadent feel that to me was reminiscent of the French
Revolution. I painted an old worn frame with faded gilt.
The frame was the hero but Bowie was inescapably there. I selected
the reference because it made him looked trapped and confined but
still trying to get out of the box. |
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The Future King.
Acrylic on Canvas , 60 x 80 cm. |
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The Future King.
Completed for the annual Art Bridge exhibition but conceived earlier.
The frame is essentially the Thai flag and the portrait of the King as a
boy a continuation.
Only two colours; cadmium red and ultramarine (plus black and
white) are used.
The boy who became a King and became the flag. |
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Bowie.
Acrylic on Canvas , 100 x 70 cm. |
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Bowie.
The bigger Bowie painting. The background colour bars represent
the different frequencies and personalities of Bowie and his music.
The frame is dark silver with an embossed blackstar.
Unlike the small painting I wanted this memory to feel graphic and
still contemporary - something you might find in a students apartment
with a beanbag and bong beneath it. |
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A Chance Meeting.
Acrylic on Canvas and Photoprint, 60 x 80 cm. |
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A Chance Meeting.
A strange (almost surealistic) memory behind this one.
I studied History of Art at school and always remembered, it now
seems wrongly, a definition of surealism as being “the chance meeting
of a fish and a boot on an ironing board ”.
I wanted to create a painting and image that could have been from
the 1930’s or there about. I sourced and adapted an old frame from
around the time and painted the still life in a Magritte like manner.
I forgot the ironing board but included an iron along with the boot
and the fish. I placed them on old floorboards against a distressed
background.
When the painting was almost finished I got around to googling the
quote and discovered ... “As beautiful as the chance encounter of a
sewing machine and an umbrella on an operating table”.
Comte de Lautreament
Where the fish and the boot came from - I have no idea. |
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English Landscape.
Acrylic on Canvas and Photoprint, 90 x 120 cm. |
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English Landscape.
A modernist landscape in a sleek platinum frame, an intentional
departure from the other work in the series.
The idea started as a series of separate pointillist diamonds that only
suggested a landscape but somehow ended up here.
In my mind’s eye was a contemporary apartment 20 floors above a
city somewhere.
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Heart.
Acrylic on Watercolour , 60 x 50 cm. |
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Heart and River of Light.
The idea behind FRAMES was always to produce work that had
a range of styles and techniques and while I can paint in a few
different ways there were types of paintings I wanted to create
but would never be able to do.
I asked another artist, and good friend, Cornelis Hoek if he would
work with me. (Cornelis has recently put away his scissors and
Cornelages and started to paint in an expressionistic and
spontaneous way.)
I gave him one canvas with a masked off area and asked him to
paint whatever he wanted and I would then “frame” it.
He came back with two.
We call them our Gilbert and George series.
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River of Light..
Acrylic on Watercolour , 50 x 60 cm. |
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| FRAMES. Acrylic on canvas and photoprints. |
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Siamese Actor 1.
Acrylic on Canvas and Photoprint, 30 x 24 cm. |
Siamese Actor 2.
Acrylic on Canvas and Photoprint, 30 x 24 cm. |
Siamese Actor 3.
Acrylic on Canvas and Photoprint, 30 x 24 cm. |
Siamese Actor 1900 x 3.
I had previously researched and discovered a lot of old, sometimes
very old, photographs of Thailand and the King. I had then taken a
selection of those black and white images and coloured them on
computer.
For this series I wanted to explore colouring them in the real world.
I mounted the black and white photoprints on canvas, coloured them
with acrylic washes and then painted the frame around them.
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Four Walls
Acrylic on Canvas and Photoprint, 60 x 50 cm. |
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Four Walls.
The photograph is dated 1900. |
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Journey
Acrylic on Canvas and Photoprint, 50 x 25 cm.
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Journey.
Four copies of the same image beginning in black and white and
ending in full colour. |
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The Crown
Acrylic on Canvas and Photoprint, 50 x 25 cm.
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The Crown Prince of Siam 1865. |
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The King
Acrylic on Canvas and Photoprint, 50 x 60 cm. |
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The King. The Flag. |
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https://www.dropbox.com/scl/fo/3f95xbtjmxrfov3qpy58q/AAA7tx1fwYW3JGGeQNafx9Yea?dl=0&oref=e&r=AAXYO-sBBEEoCGv3tmUvefS9x6s7azx2ToTWcSQdt9lSjBPHf_BsiLR9mE_nkq_FTD8vlAkS0SAG5H1NNR62ai-jSJSqT7N4ywdJEGgZa81me5-GPFFvEa3gYP4-gjrUKa7TpTGmRWlOq4MA33KVJ8XX2FS2HyfjIU59S2hXO-XSKQdDs9ifAR4etihxNsW8u28&sm=1 |
