Walton at Greenacres

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Walton at Greenacres Art Gallery

 

 ‘I wanted to learn the skills that I felt I needed to learn and the avant garde simply were not offering it,’ reflects Conor Walton on his time at the National College of Art and Design, from which he emerged, defiantly, with a Joint Honours Degree in History of Art and Fine Art, in 1993. ‘So I thought, give me the skills and I will decide what to do with them.’

Between graduating from NCAD, gaining an MA in Art History and Theory from the University of Essex in 1995 and his first solo exhibition at Jorgensen Fine Art in 1999, Walton received a rigorous training in the practice and tradition of drawing and painting from life at the Charles H. Cecil Studios in Florence: sight-size as a portrait technique has its origins in the practice of Titian, Van Dyck and Velazquez.

In the celebrated Las Meninas, Velazquez documents himself at his canvas, the orchestrator of a conceptual profundity of mise-en-scene and several people – the artist, the subject, the viewer – and in doing so initiated a multiplicity of relationships which will be emulated by artists through the ages. Walton’s self-portraits similarly invite you to draw your own conclusions regarding substance and intention. ‘There is a concern for me to get, at some level, significance or meaning,’ he explains. Velazquez broke with the traditions of his time to allow the outside world in, to give a ‘behind the scenes’ view of the painter at work.

This light-heartedness and openness is often replicated by Walton: you can watch a time-lapse video on Facebook of the evolution of his self-portrait, Push Over, which will be on show at his solo exhibition at The Greenacres Gallery. Equally compelling is the footage of Rest, in which the artist’s handling is direct and fresh, and the viewer is privy to a private symbiosis in which artist and subject are fused.

Walton – born in 1970 – is a figurative painter in the European tradition, pursuing his craft at the highest level, pushing the envelope in his desire to answer the three questions in Gauguin’s famous painting: ‘Where do we come from? What are we? Where are we going?’ Walton concedes that some of his work is ‘very big and complicated’ – An Ape’s Limbs Compared to Man’s – with a mesh of narrative, philosophy and references to current affairs. This in turn is balanced by a need to ‘be simple and matter of fact, if I can be. It has developed into a yin yang thing, my work as a whole. The complicated pictures to some extent leave me very dissatisfied and it is hard to make them work. On the other side I will try to do something as simple and as basic as I can, which allows for a small achievement.’

His oeuvre, therefore, is breath-taking in its reach: portrait, self-portrait, landscape, still life and allegory, a fluid accentuation of the questions posed by Gaugin. ‘A work of art should tell something of who we are,’ adds Walton. ‘The function of art should give us some insight into what we are.’ It has been said of him that he can be politically conscious without being sanctimonious, but beneath the surface of the larger work is a confrontation of the human and the mythical: The Barbarians At the Gates is a wry multi-layered observation of a mistrustful Europe under siege. But this is Walton standing on his own two feet, creating a world as distinctly his at those of his contemporaries.

His attention to detail has a clinical purity, and in his epic allegories you will encounter the consistencies and discontinuities of life, because each single painting, irrespective of size or ambition, is the spawn of a multitude of perceptions. The exhibition at Greenacres is the work of an artist determined to be faithful to his vision, pursued in the secluded independence of his studio overlooking Wicklow town, where he lives with his wife, Jane, a mountaineering instructor, and three children.

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