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Jumping for Joyce: Contemporary painters revel in the world of James Joyce
     
  3 July - 25 September 2013  
     
Anna Wimbledon Genevieve Dael Gerald Mynott
The Wanderer L'Exil Towards the New World, Dublin Harbour
     
oil, 2013, 24 x 30cm 9.5 x 11.75in oil, 2013, 50 x 35cm 19.5 x 13.75in oil, 2013, 25.5 x 30.5cm 10 x 12in
     
Philip Hughes Claudia Clare Philip Hughes
JJ: Homage to Ernst Reichl Molly's Odyssey: There's nothing like a kiss Ulysses: Homage to Ernst Reichl
     
etching ed. 10, 2013, 47 x 37cm 18.5 x 14.5in earthenware, 2013, height: 83cm 32.5in diameter: 43cm 17in etching ed. 10, 2013, 47 x 35cm 18.5 x 13.75in
     
Psiché Hughes Craig Barber Hugh Buchanan
Leopold Bloom's black cat Cyclops The wine of the country II
     
ceramic, 2013, 34 x 14 x 20cm oil, 2013, 131 x 113cm 51.75 x 44.5in watercolour, 2013, 28 x 38cm 11 x 15in
     
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David Risk Kennard Dione Verulam Heather Pocock
Joyce's walk, Ile aux Cygnes Molly greets the marmalade cat Catching the bright stars shining in the brightness
     
watercolour, reed pen & ink, 2013, 27.5 x 19cm 10.75 x 7.5in monoprint, 2013, 25 x 30.5cm 10 x 12in oil with mixed media, 2013, 16.5 x 19.5cm 6.5 x 7.75in
     
Steven Hubbard Peter Milton Frieda Hughes
Nothing between himself and heaven The Ministry The Idea of Pennies 5
     
oil and marquetry, 2013, 60 x 43cm 23.5 x 17in etching ed.75, 2006, 61 x 94cm 24 x 37in oil, 2013, 49 x 39cm 19.25 x 15.25in
     
Jon Wealleans Julian Vilarrubi Michael Marten
Nora Bloom / Molly Barnacle - Daydream Looking west towards Usher's Island, River Liffey, Dublin Walking into eternity on Sandymount strand
     
oil, 2012, 80 x 80cm 31.5 x 31.5in oil, 2013, 91.5 x 76cm 36 x 30in photograph ed.8, 2013, 40.5 x 81cm 16 x 32in
     
Genevieve Dael Philip Hughes Gerald Mynott
Telemachus Dublin The Dubliners
     
oil, 2013, 61 x 46cm 31.5 x 31.5in hand-coloured etching, ed.10, 2013, 42 x 53cm 16.5 x 21in oil, 2013, 24 x 29.5cm 9.5 x 11.5in
     
Steven Hubbard Lucy Raverat Jon Wealleans
The Bar of Soap Molly Bloom's Dilemma Portrait of the artist
     
oil, 2013, 27.5 x 38cm 10.25 x 15in oil, 2012, 163 x 130cm 51.25 x 64.25in oil, 2013, 50 x 50cm 19.75 x 19.75in
     
David Kennard Wendy Sutherland Craig Barber
Ulysses' ship in the Grand Basin of the Luxembourg Gardens, Paris Snow Dolly Blue
     
watercolour, pen & ink, 2013, 39 x 55cm 15.25 x 21.75in oil, 2013, 100 x 120cm, 39.5 x 47in oil, 2013, 91.5 x 122cm 36 x 48in
     
Jon Wealleans Michael Marten Anna Wimbledon
Nora Barnacle / Molly Bloom - Daydream III 'A very short space of time through very short times of space' Return to Ithaca 2am
     
oil, 2012, 31.5 x 31.5in 80 x 80cm photograph ed.8, 2013, 40.5 x 51cm 16 x 20in oil, 2013, 11.75 x 9.75in 30 x 25cm
     
Michael Marten Dione Verulam Peter Milton
Sandycove bather triptych James Joyce at home in Ireland Tracking Shot
     
photograph ed.8, 2013, 16 x 32in 40.5 x 81cm oil, 2013, 76 x 51cm 30 x 20in etching ed.75, 2008, 58.5 x 91.5cm 23 x 36in
     
Lucy Raverat Claudia Clare Anna Wimbledon
Good morning, James Diva Penelope, Glasnevin, Ireland's Eye
     
oil, 2013, 37 x 53.5cm 14.5 x 21in earthenware, 2013, height: 32in 81cm oil, 2013, 30 x 30cm 11.75 x 11.75in
     
Alain Senez Julian Vilarrubi Hugh Buchanan
Trieste Lights on the River Liffey, Dublin Then put a James's Gate in my hand
     
oil, 2013, 130 x 100cm 51 x 39.5in oil, 2013, 30 x 43cm 12 x 17in watercolour, 2013, 38 x 28cm 15 x 11in
     
Steven Hubbard Wendy Sutherland Heather Pocock
Cork The noise of waters making moan Swallows circling about a temple of air
     
marquetry with mixed media, 2013, 31.5 x 50cm 12.5 x 19.75in oil, 2013, 137.5 x 87cm 54 x 34.5in oil, 2013, 24 x 21cm 9.5 x 8.25in
     
Lucy Raverat John Fisher Gerald Mynott
River Run Caffe Pasticceria Pigalle, Paris, Winter
     
oil, 2013, 100 x 100cm 39.5 x 39.5in oil, 2013, 35 x 29.5cm 13.75 x 11.5in oil, 2013, 24 x 30cm 9.5 x 11.75in
     
Julian Vilarrubi Anna Wimbledon Jon Wealleans
River Liffey, Dublin Nausicaa Motion, stream of consciousness (Pauline Boty's horse and cart)
     
oil, 2013, 51 x 51cm 20 x 20in oil with mixed media, 2013, 30 x 25cm 11.75 x 9.75in oil, 2013, 50 x 50cm 19.75 x 19.75in
     
Heather Pocock Claudia Clare Genevive Dael
Swallows flying through the sea-dusk over the floating waters Yes A birdless heaven
     
oil with mixed media, 2013, 16 x 19cm 6.25 x 7.5in earthenware, 2013, height: 32.5in 83cm oil, 2013, 46 x 65.5cm 18 x 25.75in
     
     
     
  click for press release  

Jumping for Joyce: Contemporary painters revel in the world of James Joyce

1922, opening year of the roaring ‘twenties, was also year one of modernism. There is Josephine Baker and Jay Gatsby, fast cars, fast music and competitive gratification whatever the cost. But there is also Picasso and Kandinsky, Schoenberg and Stravinsky, Kafka, Eliot and Joyce. In the field of the arts much in modernism, driven by an urge to replace traditional values with experiments in style in every direction, coupled with a preoccupation with time and consciousness, has a gloomy often apocalyptic cast. Not so James Joyce, whose experiments in ‘modernism’, pursued on a solitary basis rather than as part of a group effort, have a far more positive character. It is this joyful side to Joyce’s creativity, the ambition to chronicle comprehensively but sympathetically nothing less than the human condition, which has appealed to the twenty contemporary painters commissioned by Francis Kyle Gallery in 2011 to Jump for Joyce – to share and revel in his world and give this expression however they saw fit.

 ‘All autobiography is fiction,’ wrote Bernard Malamud. There is little question that in Joyce all fiction is autobiographic, starting from the writer’s early experiences in Dublin: experiences which would be broadened and enriched in his European years in, successively, Trieste (1904-13), Zurich (1914-18) and Paris (1919-38). Only hinted at in the romanticism of his early poetry (CHAMBER MUSIC), taken further in PORTRAIT OF THE ARTIST AS A YOUNG MAN, in some ways a parody of the traditional coming of age novel, brought then to fullest bloom in the great experiment that is ULYSSES and, taken to an extreme in the dense artistry of FINNEGAN’S WAKE, collectively Joyce’s writings introduce (in Edmund Wilson’s words) ‘a new phase of human consciousness’ in fiction.

Early in his Trieste years Joyce took an enthusiastic interest in the new medium of film, when he set up Dublin’s first cinematograph for a consortium of Italian businessmen. It seems likely that this concentrated exposure to film played a role in shaping his approach to narrative in fiction: multiple time-frames, montage, constant shifts in perspective as an essentially slender narrative thread unfurls, broken by seismic changes in style fitting various situations and circumstances, the whole held precariously together by an ongoing play between the protagonists’ external actions and their inner, unshared thoughts, Joyce’s famous ‘interior monologues’, which occur at every level from the ecstatic epiphany to the flagrantly banal. In visual terms, this approach comes closest perhaps to the cubist interpretation of experience.

Appropriately for a writer for whom music is so important (Joyce had ambitions once to be a professional tenor), there is a rhythm in the flow of his narrative, a kind of volcanic energy which surges tempestuously forward to overcome and absorb every obstacle through a succession of creative digressions, double entendres, innuendos, puns and outrageous neologisms. The flow might well engulf and smother a thin narrative line which it follows were it not for the presence of a broader, overarching structure the writer has imposed: the structure and shape of myth. To parallel the unremarkable meanderings of Leopold Bloom and his wife Molly with episodes that unfold in Homer’s account of Odysseus’ return to his wife and home on Ithaca is to bring them into a permanent present, as Cervantes did for his two heroes in DON QUIXOTE: they become emblematic of every human folly and frailty.

Just as Joyce, always a rebel, shamelessly plundered world literature and so much else in his writings, believing there to be nothing new, so the artists in Jumping for Joyce have not felt obliged to show reverence in shaping their own responses to so many aspects of his work.

 

Please click here to see an article on Jumping for Joyce which appeared in the Independent on Monday 29 July

Click here to view an article on Jumping for Joyce which appeared in the 27 July edition of the Irish Post

The exhibition poster, shown above and measuring 59 x 42cm, can be purchased for £15.00 (inc. P&P worldwide)


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