Nick Rooney
My painting practice focuses on the dialectic between realism and abstraction. I am interested in how painting as a visual language can produce such seemingly contradictory results, the convincing illusion of volumetric forms, and the extreme simplification of flat shapes. The resulting tension of combining a classical still-life with a minimalist geometric shape creates an opportunity to examine how we attach meaning to the objects around us. The more one looks, the more disorienting the experience. The objects in my work are set at an angle they are denied a stable footing in space, pulling away from their historical setting and context. Further, its relationship to abstract shapes sets up a dialogue that can make us think about how we experience pressure, weight, gravity, and light.
I am greatly influenced by and stimulated by art history. In examining museum collections, I seek out objects with rich historical and narrative meanings that somehow resonate with me. With admiration for illusionism, I am captivated by the brilliant techniques of 17th-century Dutch still-life painting. I am also drawn to sculpture from antiquity to the late 19th century. At the same time, I am very interested in the emergence of abstraction. I am aware of the denial of meaning in formalist criticism, yet I am convinced that even the most simplified shapes reflect a need to believe in more than what we can see, offering a space to contemplate emotions.
By bringing together on one canvas both my passion for historical representation and minimalist geometric abstraction, I am trying to stimulate a deeper understanding of human nature. By heightening our awareness, painting can help us to be more reflective as we try to comprehend the fragmented perception and uncertainties of our times.
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