Lost in finds
PLEASE SCROLL DOWN TO SEE PAINTINGS BY DAVID BEGLEY FROM 2013 & 2012
First of the last four songs
From the cost to the find,
The slow wheel
Selected for DLR County Council Open Submission Exhibition
The large glass
'Illumination: in the offing'
'Illumination: When she threw up the bones of the earth and clapped her hands'
Illumination: how forms appear
'Illumination: between the sphere and ground'
'Illumination: between the sphere and ground' [detail image]
'Illumination: from the margins'
oil on wood,
Illumination: Star of the sea
'Illumination: Blossom in the year of the dragon'
'When we return'
'How light passes through' [diptych]
How light passes through
Throughout this commission, conversations led to exchanged stories of times of joy, of life-changing moments, of struggles overcome, of hope, of despair, of leaps of faith and triumph. Talk turned to the awesome beauty of the Wicklow landscape, of rainbows, of positivity of thought and of light. Of so many things - many of them feelings or things learned through experience. These feelings translated to images, coming and going, evolving in the process of painting, but always reminding me that light, like water, finds and makes its way. This became my focus in the work ‘How light passes through’.
Extract from notes written on painting How light passes through
Over and again the image of a triangle - pyramid - prism came to me. As did circles and cycles, and a landscape presenting shifting perspectives, turning points. Beginning with a semicircle and ending with one. Days passed, and with Mogwai in loop I returned to the work and in a flurry of turps I laid on the first umbers, squirting and burping, pushing and rushing, burnt and blackened and now pierced by light, then scrubbed back, sanded, and smeared again. Burst and brooding and even desperate, dirty turps rolling down the surface cutting through the formations of painted mountains, the turpentine drips pulling paint with them like a landslide. Piece by piece, detail by detail, images appeared, images within images. And then, for days I stepped back.
David Begley May 2011
'How light passes through' [diptych] [details]
'We could be golden'
See detail images below
'We could be golden' [detail] © David Begley 2011
'Beyond the Island'
'Pebble Island' [Title after Dario gamboni]
Pebble Island [Title after Dario gamboni]
This work in oil was painted over nine layers of sanded gesso. The title came from reading Dario Gamboni's book titled 'Potential Images, Ambiguity and Interdeterminacy in Moden Art' [see page 34, chapter 2] where Gamboni uses the term 'Pebble/Island' while discussing the work 'Rocky Island' by Niklaus Manuel Deutsch. Title used with permission of the author.
'The water table'
The water table
After local flooding a land’s water table rises causing springs to form, these in turn may become the source of a river. The human body when seen as a mirror of nature, or placed within the rhythm of nature also may be seen to contain a water table. Given that we are predominately made of water, when the body experiences an out-pouring of emotion, its water levels seemingly rise in waves to the surface. This sudden release of energy be it through joy or sorrow, in time creates a sense of calm. So it is that all storms pass, and floods recede with time.
In ‘The water table’ [Oil, copper leaf on board, 3ft 8” x 5ft 6”] a figure clad in copper armour stoops to peer into a pond of its own making. In this moment of contemplation, the figure notices new growth rising from the banks of the pond. Witness to the figure’s awakening, and an unseen aid to this, an angel points to the pond beneath.
One often recognises ones own healing when the infinite catches our attention. So although the crouching figure presented in ‘The water table’ recalls the motif of Narcissus, the figure here has come through a time of self-reflection and now having become aware of nature’s growth externally, in time sees this blossoming reflected in itself. Thus perspective shifts from preoccupation with the self to an expansive view of life.
'The water table' [details] © David Begley 2009 - 2010
'When we leave'
'To the island'
I had a palette in mind and the words ‘allegory’, ‘light and space’ and ‘hope’. The idea of an island had been rustling about for a while. Whilst living in Germany last year I became more aware that I am an Islander, of what this brings to one’s consciousness. The ebb, the flow. We are both insular and free spirited. When we think of an ‘island’ we may imagine a beach, silence, calm, escape, the exotic. So my thoughts began for this work.
Having visited galleries in Germany, Rembrandt, Durer, Patinier, The Flemish and German Schools made a strong impression on me: their starkness, their weight. Much of the work is monochromatic. These gallery visits led to the work ‘Ship of Fools’  which in turn has led in genre and process to ‘To the island’. For a long time I have tried to retain the under painting, and its underlying construction in a work. How, through this construction the eye may navigate a painted space.
A painting can be at its truest point at an early stage, so much of what we see in the “completed” painting conceals what lies beneath, and often its impetus [I have found] may be lost. Whilst retaining many of these initial marks allows the work to breathe, it creates a pressure on the first marks placed - the under painting, as within twenty four hours this layer becomes too dry to work into further. The gesso ground is crucial to how the first layer of turpentine and paint etch the surface. For ‘Into the island’ I used twelve layers of gesso, sanded in between layers then began with an umber wash. The following layers were applied thinly, all the time retaining certain elements of the composition and reducing others, whilst being open to secondary images within this process of building.
Much of my work from 2007 to the present is based on perspective. How perspective / perception changes through experience and through travel and time. How perspective is reduced in fear and expanded in love. In ‘To the island’ the [painted] perspective is constantly shifting, figures are minute, figures are giants. Two viewpoints are presented simultaneously. The distant view is upon us before we come to it, depending on which route the eye chooses.
David Begley November 2009
'To the island' [detail] Oil on board, 122cm x 183cm, 4ft x 6ft © David Begley 2009
'Before the light goes out'
'Even when the light goes out'
'Hope For The Soul' [detail]
'Beyond The Poplars'
The paintings on this page may be exhibited and or purchased, unless marked private collection. They are sold unframed unless otherwise stated. Other works not shown here can be seen at my studio.
Ballinaclash, Blackwater, Enniscorthy, County Wexford, Ireland
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In the pursuit of longevity
Further paintings can be viewed at my studio by appointment
|IMAGES COPYRIGHT CONTROL DAVID BEGLEY 2008 - 2015.
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