Thursday, July 21, 2016

Large Pine Cone and New Studio Space

Settling into work in my new studio space here in Ballyvaughan has been rewarding. The work space in which I create my representational paintings came together so quickly and I've been in the flow - working whenever possible. ( see image below ).

Here is a piece I recently completed that I made available for purchase through Facebook last week. The piece has now been reserved and purchased. There is a strong chance I'll be taking the work with me to display as part of my coming New York solo show, 'Where Your Treasure Is', which opens November 10th at The Sheen Centre on Bleecker St. Over the coming weeks I may make a number of other pieces available to purchase for your collection in advance of the show. If your interested to see some new works keep an eye out for my coming Summer Newsletter or send me an email to ask what works are available for your collection.

Large Pine Cone, 2016
Oil on Linen on Board.
24 x 18cm.
Reserved for a Private Collection, New York City.

Monday, June 13, 2016

Never Grow Old.

A number of months ago I came across these converse sneakers on the floor of a students studio space at the Burren College of Art. I stopped to ponder the image which evoked strong memories and symbolised for me an adolescent moment frozen in time.

The shoes, strewn together on the floor, reminded me of my carefree time in college where I searched, played and 'partied hard'. Behind the shoes lies a black ball point biro - it's tip illuminated by light. During my time in college and for many years beforehand I worked primarily with such a pen on my notebook drawings. It's amazing what marks one can accomplish with such a simple tool.

A couple of days ago I finished and put my signature to this small oil painting.
I hope you like it and it speaks to you of fun times also.

Never Grow Old, 2016
oil on canvas panel - 24x18cm

Thursday, June 2, 2016

All Forms Are Unstable

Over the past month I have concentrated on sharing images and ideas around my abstract works. Throughout that time I have been working solely on my representational paintings.

I choose many of my still life subjects for their inherent formal and abstract qualities. This image of a work in process may best represent that idea for you. 

A decaying wall of peeling paint lends itself to be explored in a considered formal manner which of course involves getting the drawing right so as to describe the illusion of three dimensional space accurately on a two dimensional surface, following the fall of shadow and carefully rendering where and how the peeling paint cracks, splits and rolls.

At the same time this subject lends itself to an abstract application and exploration, where the substance of paint itself is being utilised in the building and reductive passages within the picture plain.

Painting for me is an abstract endeavour from concept to completion and the more an image offers me the chance at describing this sort of fracture while simultaneously expanding my painterly vocabulary, the more gratified and excited I feel to be able to explore and push my visual boundaries.

All Forms Are Unstable, 2016. (work in process)
Private Collection, Boston.
oil on linen,
100 x 70cm

Friday, May 20, 2016

Follow Me!

Since May 1st I've been posting images and writings from my abstract archive on my Instagram and Facebook feed and less often here on my Blog.

Recently I've been encountering some technical issues with 'blogger' that google don't seem to be addressing and am considering winding it down as a platform to post on regularly. We will see!

If you enjoy my updates here and are not connected with me on Instagram and Facebook please look me up and connect there.

Looking forward to keeping in touch.

Yours In Paint,
Richard Hearns

Below image from Crucible opening night at the Burren College of Art.

Sunday, May 8, 2016

West Coast Representation in San Francisco

I'm absolutely thrilled to announce that my work is now represented on the west coast of the United States by Lauren J. Ellis, Director and Chris Kelley of CK Contemporary - a leading gallery just off Union Square in San Francisco.

Please visit this beautiful gallery if your in the SF area and share and spread the word with any pals and contacts close by.

- Richard

Abstrakten, 2016
 oil and mixed media on canvas
- 170x135cm

CK Contemporary, 357 Geary St,  San Francisco, California.

Friday, April 22, 2016

The Market Fair

Boo just arrived home after her third week taking part at the Kinvara Framers Market this season.
This will also be her third year to be part of this and the Ballyvaughan community markets, where she has a her 'Thai Cooking with Boo' market stall alongside an array of other producers and market sellers.

The Market fair has become a great part of our routine over the weekends and gives us a chance to be a part of a greater community and growing food culture in north County Clare.

At the market we can buy locally grown and soured produce supporting the local community, as well as doing some occasional barter - It is the west of Ireland after all! Every week we'd get our free range duck and hen eggs from Jamesie and he in turn gets a great big bowl of Boo's Traditional Thai Curry or some Pad Thai Noodles and possibly some homemade curry pastes to take home. It's a fair deal. You should see the smile on his face - priceless!

Having the market not only contributes goodies to the pantry and fridge but also contributes to the colours around the house during the week as we can buy flowers there too.

Often times as we get home and begin to tidy the produce away I'll find in what we have bought, subjects that I'm interested in painting - this bunch of asparagus being one. The quality and array of colours and textures inherent as well as that formal bunching together by bright blue band just screamed out a challenge to make good on. After fulfilling that roll they went down nicly under an eight ounce Angus steak! Talk about two birds with one stone!

Hope you like it. - Richard

Asparagus and Blue Rubber Band, 2016
oil on panel - 12"x12"

Wednesday, April 13, 2016

Jars and Mixing Stick & Spring Newsletter

Thought to post an image of a new large recently completed piece. I had a lot of fun making this painting. The paint encrusted Jars lend themselves so wonderfully to type of painting application I love to currently explore. They present me with a formal and abstract challenge while at the same time being these unusual personal effects. These recent works are successful for me only when they work visually from twelve inches and twelve feet. When you are close 'the fracture' establishes the paintings integrity - the surface quality - when viewed from twelve feet the paintings composition holds it's own establishing a strong design sensibility.

In other news - I'm about to publish my second quarterly 'Spring Newsletter'. This newsletter covers recent international gallery representation,  showcases a selection of images of new works gathered together and gives information on my coming New York City artist in studio residency programme and my solo exhibition which will take place in New York's newest Centre for Thought and Culture in November 2016.

If you head over to my website (link below) and enter your email address you will be sure to receive these quarterly instalments on my continuing practice.

- Richard

Jars and Mixing Stick, 2016
oil on linen - 100x80cm.

Saturday, April 9, 2016

Orange Squash with Artist's Brush

Orange Squash with Artist's Brush, 2016
oil on panel - 30x30cm

Endeavouring to describe and create the illusion of form in painting never gets boring for me.
It's a sort of 'smart-alec' pursuit, but at the same time I feel it frees me and banishes any anxiety which in turn enables me to create those larger gestures in my abstract paintings. 

As I have said before, and I'm confident many other artist's agree, after some time at the easel painting becomes more and more a sort of alchemy! After all we are transmuting and transforming a viscous raw base element, along with our thoughts and concepts, into something of perceived greater value and beauty. 

In many instances I chose my subject for their inherent formal and perceived abstract qualities - how these objects lead themselves to the act of painting.

- Richard

Sunday, March 20, 2016

White Roses

White Roses, 2016
oil on linen - 60x60cm

As I'm writing this short note I'm looking into a space where light flows into the studio through a north facing window. This is a place where I often choose to set up an object(s) to be observed.

In this corner of the studio I've created a large wooden frame, big enough to walk into, where I can control and almost eliminated any reflected light in the space by hanging neutral coloured fabrics, mostly off white duck cotton or grey linen, and observe just one natural light source without too much interference. This soft and almost diffused daylight is in my opinion most captivating in the early morning when it casts a cool and often crisp light followed by deep soft warm shadows. It's then I come into the studio to start my days work.

If you think of the atmosphere in many of Vermeer's interiors - the light streaming in and illuminating the room from the left - the space in many ways is something akin to this.

The painting of these roses where made in this space as were my previous paintings entitled 'Container', 'The Golden Gloves' and The Artist's Boot's. I look forward to share with you more images from this series over the coming year.

- Richard

Friday, March 11, 2016

The Artist's Boots, 2016.

'Dear Family and Friends, Have a Wonderful Weekend'!

The Artist's Boots, 2016