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Artist Statement:
My work has everything to do
with the mixture of senses and
sometimes to do with my
response to new surroundings.
For instance, growing up in
urban America, physical
boundaries included chain link
fences, buildings and other
man-made barriers. My
response, since settling into
rural Ireland, to those
barriers are the differences
in materials used thereby
indicating the use,desire and
need for boundaries in a
persons life no matter where
they come from. Hence, the
'Hedgerow Series and all
subsequent Landscapes.
Food is a reoccurring theme
as the changes in culture
stimulate me and most of all
the mixture of the senses
involved when painting food
and related objects. 'What
does this colour tastes like?'
I might ask myself. The form
of the objects are created by
the light, man-made or
natural, warm or cool, but
still described by the shapes
the light makes. The subject
is more about the tactile
responses to the images or the
idea rather than about the
subject itself. Usually my
works are produced in series
form. ...
Further Information
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Artist Exhibitions:
Ms. Walsh has exhibited in
venues throughout the United
States. She exhibits regularly
in Ireland. There are
paintings within collections
in France, Switzerland,
Greece, Ireland, Canada and
America.
SELECTED GROUP EXHIBITIONS
2003
Jan 10 - Feb 16 FOOD GLORIOUS
FOOD Louisville Visual Art
Association, The Watertower,
Louisville, KY
2002
"Star Spangled ...
Further Information
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Artist Galleries:
You can see a complete set of
Marty Walsh paintings from my
own online gallery at
www.martywalshgallery.com
or
visit or contact one of these
fine Galleries below.
Swanson Reed Contemporary-
Chuck Swanson
638 E. Market
Louisville, KY 40202 ph/fax:
1-502-589-5466
E-mail: chuckswan@aol....
Further Information
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Portion of Article reproduced from CIRCA 95,Spring 2001, pp. 54-55.
CIRCA is the Irish Art Magazine.
New Works, The Art Store, November/December 2000
by
Gemma Tipton
The Art Store is also on South William Street, a couple of doors up from Paul Kane. It is similar in concept to Barcelona's Supermarcart. Here, artworks are displayed in a series of racks to flick through, like LPs in a vinyl record store, on the floor and also, in a series of exhibitions, on the walls. In the Supermercart, the emphasis is very much on the 'purchasability' of art and here the same is true. Run by Conor Firth, the Art Store has been open for almost two years but has, according to Firth, really taken off since September. The carpeting, armchairs, day-light lighting and deliberately not-white walls are all designed to attract a public who might otherwise be intimidated. This is not to say that the Art Store 'dumbs down'; last year, they showed Sequences, an exhibition of prints from New York including work by Ilya Kabakov, Christo and Jeanne-Claude, Joseph Kosuth and Sol Lewitt.
Pre-Christmas, the exhibition New Works was curated in association with artifact (www.artifact.ie), a chance to see ArtHouse's virtual works in the flesh. Mark Demsteader, Pam Harris, Joanna Kidney, Rachel Kierans and Marty Walsh all had pieces on the walls above the racks. Meanwhile a steady stream of people were coming in, and getting their chequebooks out. It was a mixed show. Rachel Kierans exhibited geometrical oils on board. Blues and maroons, purples, greys and greens developed depth with shapes that drew in the eye, and once in, one could discern the ebb and flow of paint, wild movements of markings all contained within the spaces' forms.
Marty Walsh's works were heavier, black-framed affairs. Landscapes lit up with brilliant greens and electric blues, anchored with shadow and with shapes deliberately simple. Walsh has a strong idea of light and works the paint well, but these were not subtle images and called nothing so much to mind as Balthus going on an acid trip, but leaving the family behind. Hanging opposite, Mark Demsteader had four pieces, close-up images of heads in brown, orange and rust colours. Profiles leaning forward and into shadow, they won the struggle for impact with Walsh's works, but only just.
next....
MOMENTS IN TIME: Art center showcases
Marty Walsh's painted memories this month
Mar 2 2000 12:00AM By By Nancy De Gennaro / Lifestyles writer
In a time when fast food is symbolic of a fast-paced culture and overdrive is more than a setting on a car, Ireland resident Marty Walsh's artworks are representative of just the opposite.
Like freeze frames of time, her colorful paintings exemplify even the simplest and most fleeting moments of time - when eyes are drawn to a scene and stop, albeit briefly.
"When your eyes linger, even for a minute, there's got to be a reason you stop," says Walsh, whose works will be on display at the Murfreesboro/Rutherford County Center for the Arts in March. "Whenever your eyes rest or linger for even a moment, it's a personal encounter."
It's Walsh's own interest in this subject of brevity - remembering snippets in time - that inspire her to create.
"It's not that deep, but I think those little snippets are nice," explains Walsh, who says she remembers those kinds of seemingly insignificant details - even from childhood. "I thought everybody noticed stuff like that, but only recently did I realize that most people don't."
She says it's her own curiosity in the psychological aspects of human nature that prods her to continue asking questions such as "why" she is prompted to create what she does.
"When you look at the composition of things, it isn't as arbitrary as you think," says Walsh, who also has a home and studio in Las Vegas, Nev., with her husband Pete. "You have a lemon, a lime and a pineapple, and you stop at the lemon. I'm really interested in why you stop there.
"There's got to be a personal experience that makes you stop and choose the one thing over another."
Her painting "Sunrise and Cereal," characteristic of many of her works involving aspects of food, captures a view of sunlight dancing atop a breakfast table of colorful dishes.
Part of the reason she desires to paint images of food is her own experiences working as a pastry chef after she graduated college with a degree in art.
"I was lucky enough to have no illusions of making money as a painter straight out of college," quips Walsh.
Her work as a pastry chef helped feed her artistic nature.
"You get to build and shape. It served me well because all the senses were at work," says Walsh.
Soon after becoming a pastry chef, she began to paint.
In 1989, she married carpenter Pete Walsh, and the duo traveled across the United States in a Volkswagen bus - more colorful experiences to add to her artistic repertoire of mental images.
By the next year, Walsh says her husband was homesick for Ireland. So they moved there. Now they split their time between the Emerald Isle and the states. The breathtaking patchwork of Ireland serves as material for many of Walsh's works.
In keeping with Walsh's other painting subjects, Walsh examines the psychological perspectives of her landscapes.
"My landscapes are about boundary issues," she explains. "I began to paint landscapes and I discovered the theme was boundaries and borders...Most of them have hedges or boundaries."
She compares the physical boundaries of landscapes to that of humans, who create personal boundaries, she says.
And through her analysis of "why" she paints what she paints, Walsh says she's discovered many insights of her own true nature.
"I let my eyes and hands speak...I think some people can see it," she says. "I hope this exhibit will help people to stop, look and learn."
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