Wellies

Just last week I put the final touches to this painting and brought the finished work to a custom framer in the TriBeca area of New York. The frame we choose for this piece is pretty special! It's made from ebonized reclaimed chestnut.

With a number of the works finally completed I've been thinking a great deal about the context of my work and how the pieces I choose for this exhibition will gel together a create a story.

This painting has most definitely made the cut!

Hope you like it.


- Richard

Wellies, 2016

oil on canvas

22 x 18 inches.

'The Litmus Test' & NYC Studio Residency/Solo Show.

Richard Hearns - The Litmus Test from Richard Hearns on Vimeo.

Saturday October 1st begins a two month New York City studio residency which includes a Solo Exhibition at The Sheen Centre for Thought and Culture, 18 Bleecker Street, NY 10012.

My Solo Show 'Where Your Treasure Is', opens Thursday November 10th at 6pm.
The Exhibition continues until Monday November 28th.

For studio visits during this period October 1st to November 28th please contact info@richardhearns.com or call +353(0)86 216 1135.

I look forward to writing to you next from NYC.

- Richard

Cremnitz White

Chemnitz White, 2016
oil on panel - 7x5inches

Reserved for 'Where Your Treasure Is', Opening November 10th at The Sheen Centre for Thought and Culture, 18 Bleecker St, NY 10012, New York City.

Please contact, info@richardhearns.com for more information.

Overlapping Forms and NYC Solo Show.

I've just two weeks studio time in Ireland until I fly out to the big apple for my 5th NYC solo show.

Here is another small work which will form part of a series or 'cluster' of small paintings which I will exhibit along with larger works this November.

Tomorrow I plan to post 'The Litmus Test' video which will also be included in this exhibition at New Yorks newest arts center on Bleecker street. 

Overlapping Forms, 2016
oil on panel - 26x20cm [10x8inches]

Reserved. Contact me at info@richardhearns.com or PM me for more information.

Blue Can with Notebook and Brown Bottle

I've been putting together a little collection of smaller paintings that I plan to exhibit alongside some larger finished works in New York this coming October and November. These smaller pieces feature single objects or a combination of objects in a planned sequence or composition.

It's my hope, when beginning works like this,  that I employ a strong and focused 'economy of means', that is to say that I use my brushwork, gesture and colour in such a way as to tell a story in the simplest and most direct manner possible - It's not easy and a struggle that ends in anticlimax and frustration at times. But when it works it can be beautiful.

This painting measures 12x8inches or 30x20cm. It's my hope to be able to work on and create a number of works in this manner during my time in NYC this year, and if they are good enough, to exhibit them along with my other chosen pieces at my studio at the Sheen Centre on Bleecker St and at my exhibit 'Where Your Treasure Is' which opens November 10th.

Just last week Videographer Eoin Collins finished an edit documenting one such piece. This short three minute documentary focuses on a work created from direct observation and will feature at my show in New York so as to engage and give visitors a deeper insight in to my processes. I look forward to share this specially commissioned piece with you here online in the coming days.

- Richard

Blue Can with Notebook and Brown Bottle, 2016.
oil on Italian gesso panel - 12x8inches.
Reserved for my coming NYC Exhibit.
Contact, info@richardhearns.com for further information.

Commercium

I began this painting in Germany at the Kunstacademie in Bad Reichenhall. Nestled close to the Austrian city of Salzburg, the area in which the studios and academy are situated is alpine, and the surrounding mountains are scared with trails leading deep into the landscape.

My palette and gestures here seem to reflect the excitement I felt and the powerful 'exchange' I experienced during my time there.

It's been three months or so since I last shared any images of my large scale informal abstract paintings. Over the last number of weeks I have begun to work on, and complete a number of these pieces. Here is an image of one such work which is on it's to an important collection in Dublin.

Hope you enjoy it. - Richard Hearns

Commercium (Exchange), 2016.
oil on linen - 178x135cm.

Private Collection, Ireland.

Monk's Hydrangeas

Every weekend is 'market weekend' for Boo and her Thai cooking stall at the Kinvara and Ballyvaughan farmers markets. Many other local producers, artisans and musicians also take part to make these markets the special weekly events that they are for the larger community and visitors.

One very special market seller is Michael Monk - previously owner of the famous and renowned Monk's Pub and Seafood restaurant at the pier in Ballyvaughan, Micheal retired some years ago from the publican trade, and became as famous for his 'spuds', (potatoes to the uninitiated) and as a local vegetable farmer in Ballyvaughan.

Michael, having never lost his Dublin charm, is also partial to gifting girls with flowers! A couple of weekends ago Boo was the recipient of these Hydrangeas from Michael's garden.  I thought it would make a great composition for a 'sight size' painting with it's strong leaf flowerhead of reds and pinks.

In life and art it's ultimately the combination of curved lines and straight lines that brings about perceived beauty. Through the deliberate balancing of the strength and order of the straight lines in this composition I plotted a foundational vehicle in which to place the grace and elegance of the curve - it's the balance between them that provides the life and structure of the painting.

I'm looking forward to showing this piece to Michael Monk on Saturday. I think he will get a surprise by his gift of flowers now immortalised in paint.

Hope you like it.

- Richard

Monk's Hydrangeas
oil on linen - 60x60cm [24x24inches]
Reserved for my coming New York Solo Show.
Contact, info@richardhearns.com for more information.

Monolith

Have you been to Vietnam?
Hanoi is were this short story started for me, the painting came later.

I visited that vast and densely populated city earlier this year. A cold snap of weather had drifted from China down to the northern parts of Laos and Vietnam - so unseasonably cold for that time of year that people were caught by surprise and wandered around the city of Luang Prabang wrapped in bed sheets in an effort to keep warm.

When we arrived in Hanoi it was still wet and cold. My parents were traveling with Boo and I, and efforts had been made to accommodate their interests, including a visit to the square and mausoleum of General Ho Chi Minh.

The atmosphere I felt as we circled the square looking for an entrance was alien and unwelcoming. The mausoleum stood in dark granite backed by a forboding grey sky. The building was fronted by a strong bold red typeface and grey block paving on which people shuffled into line to queue. The soldiers who filed people into line looked untrusting - no welcome was given - no smile - no colour - 'no cameras' - 'no talking'! All you could hear was the sound of wet boots along the red plastic carpet cover which lead us towards and into the monolith.

The remains of venerated General lay there in that vast silent chamber, a ghastly colour of orange light cast over his face. He was plastic and unreal. It was the most uncomfortable architectural space my body had ever entered. I wanted out!

While creating this piece I was surprisingly reminded of that day and my experience of the tomb.
In a way I feel this painting makes battle with my memory of that colourless place - that unnatural space and mummification of life.

A small orange colour note placed along the granite slab nods to my memory of the body of the general. Light and the play of colour and reflection pervades even in shadow.

Monolith, 2016
oil on linen - [24x24in] 60x60cm
PM me for details on this piece.

What is It?

What's the pictorial concept for a work like this?
What's the initial excitement that draws me in and makes me want to transmute, filter and communicate? 

John O' Donohue described the moment of inspiration so beautifully in his poem, The Artist at the Start of Day - 

'Your eyes seduced by some unintended glimpse

That cut right through the surface to a source'.

Every once and a while a piece just presents itself like this, forcefully communicating an idea for you to investigate. 

With this work it was all about illustrating a hierarchy of 'edges' described by gradated light. 

I posted an image of this work accompanied by a number of other recently created pieces in my latest newsletter. This piece has been reserved and purchased in advance of my coming NYC solo show in November.

'Lilies', 2016
oil on canvas,
50x40cm [20x16in]
Private Collection, New York City.

Summer Newsletter 2016

I'm about to post my Summer Newsletter with details of my coming New York Solo Exhibit and Residency as well as information on my works in San Fransisco, and new studio happenings. 

Join me on this journey by entering your email address into the newsletter sign up feature on my website.

www.richardhearns.com

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.

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

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

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.

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

http://ckcontemporary.com/pages/about
http://ckcontemporary.com/hearns-richard/

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

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

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"
www.richardhearns.com

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.
www.richardhearns.com

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

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
www.richardhearns.com

The Artist's Boots, 2016.

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

The Artist's Boots, 2016

oil on canvas - 40x40cm

Private Collection, Ireland.

Sunday, March 6, 2016

The Golden Gloves, 2016.

The Golden Gloves, 2016
oil on linen canvas - 80x60cm

In the second of my new works for 2016 I returned to a familiar subject. My Grandfathers boxing gloves, which hang on the wall of my studio, were left to me upon his passing in 1994. 

In August 2014 I created a smaller sketch in oils of this personal and iconic symbol. I hope placing a broken egg shell under the gloves in the original composition would contrast the sometimes violent sport and my gentle Papa while at the same time evoking the idea of the fragility of life and the dreams we create.

These gloves were worn by my grandfather Dick Hearns when boxing for Ireland v USA at Soldier Field, Chicago, in 1933.

Dick fought Max Marek in the light heavyweight division.  Marek had defeated the legendary Joe Louis in the final of the US Amateur Championships that year.  Louis became one of the greatest Heavyweight Champions of the world.

The following is an extract from the report of the match in The Chicago Tribune -

"The 40,000 patrons put up a terrible squawk when the decision was given to Max Marek, veteran Chicago lightheavyweight, over Dick Hearns of Ireland.  This happened to be the bout which clinched the championship for the US and though Phil Collins the referee, decided for Hearns and properly so, the judges gave it to Marek.

Though the decision went to Marek, giving the US a certain victory, the crowd did not take kindly to the decision.  Hearns traded punch for punch with Marek all the way and the margin, if there was one in this bout, might have been given to the Irish lad.  Certainly the crowd seemed to think so, for it seemed as if 40,000 varieties of booing, stamping of feet and plain and ordinary squawking resounded through Soldier Field for a long time making the introduction of the heavyweights who fought in the closing bout an impossibility".

Dick Hearns was my Grandad.

Friday, March 4, 2016

New Works: Container 2016

Container, 2016 
oil on linen canvas - 80x60cm

Just put my signature to this painting which is the first in a series of recently finished representational still life paintings. 

Created in my studio the painting along with several others were began several months ago.

I have much news to share with you about my travels and recent experiences in my practice. But I just want to concentrate on my work for now. 

- Richard

Saturday, January 16, 2016

Winter newsletter coming soon.

Guys, I've just completed a little work updating my Official Website and am about to finish and post my Winter Newsletter which will contain details on coming shows, images of works in progress and future plans for 2016. Visit www.richardhearns.com And add your email to the subscribe feature to receive this quarterly newsletter.

Wednesday, January 6, 2016

Work in Process

Before leaving Ireland on this trip I was working on a number of important commissioned portraits. Here is an image of one such portrait on my easel - The Legendary concertina player Chris Droney.