artists

Mairead O’hEocha

mother’s exhibitions:
Mairead O’hEocha
Blackbirds in the Garden of Prisms
21 September – 29 October 2016

Mairead O’hEocha
The Sky was Yellow and the Sun was Blue
31 May – 14 July 2012

Mairead O’hEocha
Home Rules
16 January – 16 February 2008

exhibitions:
The Mud of Compound Experience
aaajiao, Uri Aran, Chen Wei, Nina Canell, Lee Kit, Li Qing, Liu Chuang, Liu Shiyuan, Mairead O’hEocha
mother’s tankstation in collaboration with Leo Xu Projects
98 Apliu Street, Sham Shui Po, Hong Kong
21 March – 27 March 2016

Mairead O’hEocha
Art Statements | Art Basel 2013

Born Ireland, lives and works in Dublin

Mairead O’hEocha makes paintings that reflect her interest in ‘the specifics of (non)place’, affirming and negating the unique and the universal. O’hEocha’s iconic paintings of liminal, semi-rural places, particularly, south eastern Ireland, carry conflicted identities and confused historical timelines: the ancient, the poetic, the sublime sidles up to the contemporary, the unsightly, and the simple daily realities of factories, washing lines, garbage bins – all the elements usually excluded by the painter’s composition. The meticulous architectonic execution of her paintings creates an anxious narrative that simultaneously undermines and supports pictorial logic, prompting contradictory responses of familiarity and remoteness, of longing for and belonging to a simultaneously familiar and alien contemporary world. More recently, since ceasing to teach and consequently no longer making extensive driven commutes through the Irish landscape, O’hEocha’s subject matter has shifted/widened to include scenes experienced from daily walks, to subjects of perennial painterly fascination; stilled life. O’hEocha’s two-year long engagement with the seemingly simple subject matter of flowers, both faithfully observed and improvised, takes the ‘liberated’ subject out of the candlelight of the Enlightenment and plunges it into the darkness of Romanticism, where flowers are not just flowers, but powerful, resonant surrogates for things we do not like to think on, but perhaps obsess upon.

Mairead O’hEocha staged her third solo exhibition, Blackbirds in the Garden of Prisms, with mother’s tankstation, Dublin in 2016. Other notable exhibitions include A Painter’s Doubt: Painting & Phenomenology, Salzburger Kunstverein (2017), 2116: Forecast of the Next Century, Lewis Glucksman Gallery, Cork, traveling to Broad Art Museum, Michigan (2016 – 2017), Coup de Ville Contemporary Art Festival, WARP, Belgium (2016), The Mud of Compound Experience, Hong Kong, mother’s tankstation in collaboration with Leo Xu Projects (2016), Whisper Concrete, Butler Gallery, Kilkenny (2011), The Model, Sligo (2012), The Hudson Franklin Gallery, New York (2008). O’hEocha’s acclaimed, second museum exhibition, via An Lár, at Douglas Hyde Gallery, Dublin (2011) was reviewed in Frieze, no. 141 and selected as an Artforum critics’ picks of 2011. Her work was presented by mother’s tankstation at ‘Art Statements’, Art Basel 44, 2013 and is featured in the third issue of the survey publication of contemporary painting; ‘Vitamin P3: New Perspectives in Painting’ (2016). In June 2018, AmC Collezione Coppola, Vicenza, published a SOLO magazine monograph on Mairead O’hEocha.

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