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Jess Macneil Available Works Catalogue 2017

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Jess Macneil Available Works Catalogue 2017 JESS MACNEIL AVAILABLE WORKS ARTEREAL GALLERY ARTEREAL GALLERY 747 DARLING ST ROZELLE NSW 2039 +61 (2) 9818 7473 [email protected] WWW.ARTEREAL.COM.AU JESS MACNEIL THRESHOLD FINALIST IN THE 2018 WOOLLAHRA SMALL SCULPTURE PRIZE ARTEREAL GALLERY 747 DARLING ST ROZELLE NSW 2039 +61 (2) 9818 7473 [email protected] WWW.ARTEREAL.COM.AU During the lead-up to making Threshold a farcically melodramatic sequence of circumstances steamrollered my life. This onslaught brought intense experiences of pain, death, new life, risk, wonder, grief, love, extreme medical emergencies - including very near death, gruelling recovery, fear, fury, weakness, passion, compassion, vulnerability, betrayal and strength. Even had I tried, it would be impossible for this turmoil not to imbue my work. Through my practice I have consistently conceptually grappled with how we navigate complexity and contradictions, and my work has become increasingly personal. But Threshold is the most intimate work I have made thus far. Seventeen ‘slices’ of Perspex construct Threshold, each supporting oil paint applied in fragments, combined to create a contorted woman, her pose a consequence of a diabolical blow, or of her powerful summonsing of inner strength to reassert her push back. The images disappear and re-emerge dependent on vantage point; splintered, volatile, evasive. Acrylic sheet’s unstable light-bearing properties enact improbable refractions and reflections as further appearances and disappearances. Threhold exploits the ability to be not only ‘both’, but ‘many’ simultaneously, with one perceived image knocked adroitly out of place by another, and another, and another, in intriguingly constructive destruction. Threshold viscerally, aesthetically and experientially embodies both the intense fragility and humble, immense power and vigour of life force. - Jess MacNeil, 2018 Jess MacNeil_Threshold_2018_oil on perspex_28.9 x 23 x 25.5cm_$10,000 JESS MACNEIL EXSANGUINATION 12 March – 7 April 2018 Jess MacNeil‘s recurring preoccupation is with the distillation and expression of complex inter-relationships, whether human, spatial, or of time or place. Bodies of works during the past decade cryptically titled Unfound, The shape of between, and The rate of forgetting offer insights into the artist’s focus on ephemeral concepts - mining and drawing out the elusive co-existence of presence and absence, of uncertainty and indeterminacy. Exsanguination, or bloodletting is an extreme loss of blood: a metaphoric emptying out. MacNeil continues her skirmish with the figure, with surface texture and space, with transition and transformation, encounter and mutability, to create an elliptical visual narrative. In the way of a writer’s compilation of literary fragments, accretions of old and new elements, from before and from the moments of making, come together in the new works for Exsanguination. In oil and water-colour on linen or hand-dyed canvas, and unusually quite small in scale for MacNeil, the seemingly disparate works nonetheless activate different elements of each other. The intimate paintings and sculpture present as related but random out-takes – to coalesce as an eclectic edit of aspects of a larger continuum of ongoing “scenes” of and from an artist’s intense subjective thinking, emotions, observations and experiences and art. Whether working with photo-media, sculpture or painting, a filmic sensibility is integral to the images, objects and materials of Jess MacNeil’s art. Elements of transparency, fluidity, fluctuating light and scales of time, incidences of crossovers and flashbacks, all characterise aspects of the cinematic in her multi-disciplinary practice. The potent small sculpture, Sanguine / Ex-sanguine, an ambiguous depiction of a woman, sliced and ‘leaking’ green paint, disappearing and re-appearing, reflected onto her surrounding enclosure by tricks and plays of light is pivotal for the many layers of meaning and making within the Exsanguination works. A sequence of sixteen paintings on transparent acrylic is arrayed reminiscent of slides racked in a carousel or frames in a moving-image edit. Each panel, an independent painting, is licked with daubs or drips of viscous blood-red or green oil paint. Dependent on internal and external spatial phenomena and the angle of the viewer, the artist cleverly exploits contradictions within the small sculpture. Adroitly conjuring with the ambiguities of abstraction and realism, perception of time and space, motion and stasis to simultaneously conceal and reveal a nascent human figure, redolent of both the intense fragility and immense power and vigour of the life force. MacNeil’s paintings are vested in a range of diverse human experiences and perspectives and encounter; often devolving from incidents which have taken years or decades for the artist to unfold mixed with the now and instantaneous. Three of the paintings traverse the overlapping distortions and disorientation, psychological as well as temporal, during insomnia. Others are from an amalgam of remembering and forgetting - on both the universal level and also very personal and intimate for the artist: ‘Drought, Smog, Seep’ combines imagery of: “a profound and prolonged drought on the property I grew up on - image in this work is partially taken from a photograph taken when I was around 7 - with snapshots of London smog from the air taken only months ago, mixed and made relational to one another by the bleeding of the paint and ink below as well as the imprinting and intermixing of the daubing ... ‘Smoke Ghosts’ is traced from video footage of the piercingly, impossibly dreadful fires at Grenfell Towers - again not meant as a literal depiction of this in any way, the work describes a transmitting and receiving - however imperfectly - of that pain of others, a ghosting and an imprint which cannot be ignored and cannot not change and hurt one’s self (and nor would any feeling human wish to be immune from this), and - at least for the artist - temporally cannot but speak to other ghosts criminally lost and of which there have been so many in 2017, especially close to us in London being so close to - still part of! - Europe (an accumulation of ghosts), and for me also echoes with the September 11 towers burning, which I watched from the ground in lower Manhattan and resonates image and content wise - both images of towers burning stay burnt in the retina and cannot be rid from mind... Australian artist Jess MacNeil is currently London based. Her works are held in public collections including the Art Gallery of New South Wales, the Museum of Contemporary Art Australia and the Australia Council for the Arts as well as numerous Australian and international private collections. Barbara Dowse Curator Woman in Stairwell 2 2018_Oil, acrylic, watercolour and ink on canvas_35 x 30cm_$5,000 New Brute 2018_Oil on linen_35 x 30cm_$5,000 Hayward Forecourt 2017-18_acrylic, watercolour and ink on canvas_30.5 x 22.8cm_$4,000 Here. And Here. And Here. 2017-18_Oil, watercolour and ink on canvas_35.5 x 30.5cm_$5,000 Insomnia 3 2017-18_Oil, acrylic, watercolour and ink on linen _35 x 30cm_$5,000 Spiral Staircase 2017_Oil, acrylic, watercolour and enamel on linen_35.5 x 30.5cm_$5,000 Waiting, Trying to Forget (Remember to Keep Looking Up at the Sky) 2017_Oil, acrylic, watercolour and enamel on linen_35 x 30cm_$5,000 Smoke Ghosts 2018_Oil, watercolour and enamel on linen_30 x 25cm_$5,000 Drought, Smog, Seep 2017-18_Oil, watercolour and ink on canvas_22.8 x 30.5cm_$4,000 Lost and Found in Pain 2018_Oil on linen _35 x 30cm_$5,000 Insomnia 2 2017-18_Oil and resin on hand dyed canvas_25 x 20cm_$4,000 Insomnia 1 2017-18_Oil and resin on hand dyed canvas_35.5 x 30.5cm_$5,000 Elemental Transfer Shape 2017_Oil, watercolour, ink and resin on canvas_30.5 x 22.8cm_$4,000 Cherry Tate Composition 2017-18 oil and resn on hand dyed canvas 30.5 x 22.8cm $4000 JESS MACNEIL UNFOUND APRIL 2014 At the time of writing, the search goes on for Flight MH370 that at this stage remains unfound. The resonances of absence, the search for traces, the psychological potency of the known and the not known is palpable. While not in any literal sense, Jess MacNeil’s latest exhibition is presciently tangentially and metaphorically aligned. Her works are marked by absence and non-specific encounter, by junction and by the potent spaces between. They embody a sensibility that is poised on the brink of engagement and non-engagement. They are elusive, and cryptic, and expressed through fragmentation and angularity and focused in those parts that are ‘missing’; and predicated on a strange coexistence of presence and absence - or even the ‘presence of absence’. Unfound continues her preoccupation with the dynamics of space and with such esoteric concepts as ’ the shape of between’; the geometry and interstices of our individual vantage points - be they physical, perceptual or psychological, and as manifested in the context of place, of time and of change. Hers is a fascination with space, its changing planes and our occupation and perspective of it; both the shared space and the space of the work of art itself. Jess MacNeil is a London based Australian artist working in both London and Sydney. She works across media but predominantly in experimental painting, moving image, and installation. The sensibility of these principal art forms and the way they behave, the structure of their language, their "grammar", is influential and evident right through her practice, including the ‘hybrid’ works that cross over between painting and object. Three large-scale wall-based paintings-cum-constructions anchor the exhibition; the works are a variation and development from the free-standing paintings-as-sculptures introduced in her last exhibition, ‘In between something I have’ with Gallery Barry Keldoulis in 2012 Some insights into her way of working and the context of these new works are revealed by the artist: The large paintings are 'drawn' from cumulatively constructed images of 'landscapes' close to me (and to others) as I encounter and interpret them over time.
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