The current exhibition, opened throughout the Bank Holiday weekend, by artist Serena Caulfield at the Vine Restaurant, Main Street, Wexford, is bifurcated into studies of the classical and a revisiting of the natural.
Irrespective of the medium, artists dice with the challenge of stabilising an impression or conveying their take on transience. In this Wexford Festival exhibition, Fragments,the smaller paintings are the outcome of a contemporary artist studying key apotheoses in sculpture and architecture in Western antiquity: the Elgin Marbles in London and the Pantheon in Rome.
As their etymology suggests, both are joined at the hip, the Pantheon – which still stands – was intended as a temple of all the Gods whereas the Parthenon, which is in ruins and from which the Elgin Marbles were stolen, was dedicated to just one, Athena.
Where they differ is in narrative: the Pantheon, whilst paying homage to the Gods, was intended primarily to be a symbol of the greatness of Rome. The Romans invented an ingenious special effect, which still works today, to display divine omniscience: the temple is illuminated by a circular shaft of sunlight, admitted through an opening in the hemispherical dome.
Caulfield’s depiction of the oculus in the Pantheon eschews the temptation to be overawed by the brilliance of the light, and instead the interior of the brightly lit dome becomes a study of something else: the relevance is perhaps less what is happening within, than the source from without.
In ancient Egyptian or Roman cultures, the sky was the destiny of the deceased emperor turned into a god, so Caulfield’s oculus is an orbit of blue.
In her series of oils emanating from her study of the Elgin Marbles in the British Museum, Caulfield is attracted to the energy of movement within the marble: one horse from the chariot of the Moon, with flaring nostrils, is exhausted.
Other studies here from the Elgin Marbles derive from the fractured pedimental groups of the Parthenon. Caulfield, like the original sculptors, uses the visual memory to mimic gait, and the postures are thus convincing.
The much larger canvases in Fragments are the verdant distillations of perceptions accumulated by the artist in her many visits to South East Asia: the palette is more effusive because the artist paints what she feels and the subject amplifies and fills the canvas, like O’Keefe. The narrative couldn’t be further from the Pantheon or Parthenon studies. Caulfield sees the work as transmissions of a way of seeing.