Sean Hanrahan

Substitute for a Mirror. Silkscreen and Aerosol spray-paint on Plywood, 54cmx74cm 2017

Substitute for a Mirror. Silkscreen and Aerosol spray-paint on Plywood, 54cmx74cm 2017

First Follower and Battle of the Bots. Silkscreen, Aerosol spray-paint and on primed Plywood. 2017

First Follower

First Follower. Silkscreen, Aerosol spray-paint on primed Plywood. 2017

 

BOTB

Battle of the Bots. Silkscreen, Aerosol spray-paint and on primed Plywood. 2017

The House of Ord and ‘The Bandwagoneers escape under a hail of fire’. Silkscreen on primed Plywood

 

The Bandwagoneers escape under a hail of fire. 7 colour Silkscreen on primed Plywood 51cmx61cm. 2015

The House of Ord. 4 colour Silkscreen on primed Plywood 77cmx122cm. 2016

The House of Ord. 4 colour Silkscreen on primed Plywood 77cmx122cm. 2016

Night Frightens the Day/Калі ноч палохае дзень. Silkscreen on primed plywood, 81cmx121cm series of 6.

 

no.1 Night Frightens the Day:Калі ноч палохае дзень. Silkscreen on primed plywood, 81cmx121cm 2014.

no.1 Night Frightens the Day:Калі ноч палохае дзень. 6 colour Silkscreen on primed plywood, 81cmx121cm 2014.

In January 2014, the VCCA (Centre of Contemporary and Modern Art) Vitebsk, Belarus invited me to to host a solo show as part of their International Artist program. My initial response was to create a body of work that reflected similarities between Belarusian and Irish/European traditional cultures. This led to research in folk art, medieval hunting imagery, traditional 17th century Russian Lubok wood-cut prints and Italian Renaissance art. The re-discovery of Botticelli’s Primevera (1492) influenced the use of plants and foliage as motifs to form new psychological ideas based on veiled or hidden meaning. Parallel to this, I began to resolve the technical aspect of producing the work through the use of Photography and Silkscreen on primed plywood. By March 2014 it became clear that the work was to take on a more psychological rather than a cultural direction. This was reinforced by a visit to the Centre of Contemporary Culture Barcelona (CCCB), where I had the opportunity to view the extraordinary exhibition Metamorphosis: Fantasy Visions in Starewitch, Svankmayer and the Quay brothers – four key figures in animated film who drew on the phantasmagoric and grotesque. This experience further influenced me in creating imagery for Калі ноч палохае дзень, the result of which has personal meaning and is intended to invoke psychological memories and experiences in the viewer.

Opening of Night Frightens the Day V.C.C.A Minsk July 2015

Opening of Night Frightens the Day,  Centre for Contemporary Art, Minsk. July 2015 in Association with ARTPLAZ (Minsk, Prague)

       

This Woodblock on Canvas 147cmx167cm is part of the exhibition, Over the Sun, Kazimir Malevich (His legacy and influence on Western Artists). The accompanying text is an extract from the catalog for the Exhibition, 2015.

 

Over the Sun

 

Over the Sun

Kazimir Malevich

(His legacy and influence on western artists)

Selected and organized By Séan Hanrahan

in association with the V.C.C.A Vitebsk, Belarus

Participating Artists, Séan Hanrahan IRE,

Dominic Fee IRE, Josh Dannin U.S.A.

Standing in no.5a on Pravdy str. in Vitebsk on a September afternoon listening to two senior research staff members from the V.C.C.A (Vitebsk Centre for Modern and Contemporary Art) Marina Karman and Elena Gai explain about the historical nature of the building we were in, and the plans for its future, I was immediately struck by the importance of the surroundings I had found myself in. It was here Russian avant garde artist Kazimir Malevich (1879-1935) formed UNOVIS – ‘The Affirmers of the New Art’ group in 1919. It was here also that he wrote and published some of his main theoretical writings, such as Suprematism: 34 drawings.This exhibition is the result of that September afternoon’s conversation and the expressed openness and enthusiasm by the director of the V.C.C.A Andrey Duhovnikov to the proposal of putting the project together. We consider this exhibition as a small beacon of the significant influence Kazimir Malevich has had on Western and Modern art throughout the past 100 years since he painted his Black Square, and of Vitebsk where he taught and wrote many of his theoretical works. I gratefully acknowledge the V.C.C.A and its staff for their support. I would like to thank and acknowledge the Artists involved, Dominic Fee and Josh Dannin who without hesitation got on board, and enthusiastically engaged with the project. I would especially like to thank Masha Falaleeva for her support, dedication and shared vision.

                                                                                             Séan Hanrahan June 2015

banners

Pravdy 5a Banners hanging in the UNOVIS era working and living quarters of Kazimir Malevich

 

Main Exhibition V.C.C.A Vitebsk. On the walls Josh Dannin’s Proposition 06.00145. On the floor Dominic Fee’s modular ‘MonUment’ on UNOVIS era wooden floor tiles. Right, is the screening of the short film ‘Over the Sun’ projected onto blank canvas.

 

Over the Sun documentary Vitebsk 2015

 

Sean Hanrahan exhibition piece/film Over the Sun

 

 

Poems for a Fugitive. Silkscreen on Steel 31cmx40.5cm

 Poems for a Fugitive 31cmx40.5cm

3 colour silkscreen on steel 2015

 

 Poems for a Fugitive 31cmx40.5cm

4 colour silkscreen on steel 2015

 Poems for a Fugitive 31cmx40.5cm

4 colour silkscreen on steel 2015

 

 

 

 

 

 

 

 

 

 

 

 

Bonded Warehouses. Silkscreen on Fabriano Artistico, 43cmx53cm.

Bonded Warehouses. Silkscreen on Fabriano Artistico, 43cmx53cm. 2016

Bonded Warehouses. Silkscreen on Fabriano Artistico, 43cmx53cm. 2016

Bonded Warehouses. Silkscreen on Fabriano Artistico, 43cmx53cm. 2016

Bonded Warehouses. Silkscreen on Fabriano Artistico, 43cmx53cm. 2016

Bonded Warehouses. Silkscreen on Fabriano Artistico, 43cmx53cm. 2016

Bonded Warehouses. Silkscreen on Fabriano Artistico, 43cmx53cm. 2016

 

 

 

 

 

 

 

 

 

 

 

Bonded Warehouses are photographs of the iconic and historic Bonded Warehouse buildings at the Port of Cork, Ireland. The Bonded Warehouses have held a particular fascination for me since moving to Cork city after graduating in 2005. In the late evening on the 31st of October 2014 I took a series of photographs of the Warehouses. I selected 3 images from that series, and through my ongoing experimentation with the halftone printing process, I have transposed these selected photographic images into ‘Fine Art prints’, using the medium of Silkscreen.

Klodetta.

Klodetta. 4 colour Silk screen, image size 60cmx40cm. 2013

Klodetta. 4 colour Silk screen, image size 60cmx40cm. 2013

Klodetta represents a series of photographs of my wife Masha Falaleeva. The works emphasis, is based on experimenting with the Halftone pixelated process to create fine art Print based Portraiture. I first became familiar with Halftone as a mass printing technique by looking under a magnifying glass at newspaper photographs and 1970’s book covers and illustrations. After graduating from college and looking for new means of research, I found myself once again looking at Halftone, this time by passing by everyday, low lying advertising billboards. This close up physical encounter gave me a new sense of Halftone as a means of visually reproducing imagery. I incorporate the depth of perception that Halftone brings to visually reproduce imagery into my own work, as is with Klodetta. The Halftone process of printing, which effectively replaced wood-engraving and lithography in the illustration of story’s; particularly newspapers and books, is its self becoming redundant by on-line technology and new methods of printing for media and advertising. Klodetta is a sort of mediation, between art and technology.

Klodetta. Etched Steel and Aerosol spray paint 50cmx43cm, 2012.

Klodetta. Etched Steel and Aerosol spray paint 50cmx43cm, 2012.

Klodetta. 3 colour Silkscreen 56cmx76cm 2015

Klodetta. 3 colour Silkscreen 56cmx76cm 2015

 

 

Oscillation VI. 4 colour Silkscreen on Fabriano paper, 63.5cmx63.5cm.

 

Oscillation VI is continuation from Oscillate, a small series of variable Silkscreen prints. The emphasis of the work is based on my ongoing experimentation with the Halftone pixelated process. As with the Oscillate series, I choose not to use representational imagery, instead I have designed and inverted a Halftone matrix pattern. With this matrix pattern I’m layering colour offsets of the matrix to explore the possibility of the sustained and infinite continuity of its function, towards the purpose of design.

Oscillate. Silkscreen on Zerkall paper 45cmx55cm.

Oscillate i

Oscillate i

Oscillate ii

Oscillate ii

Oscillate iii

Oscillate iii

Oscillate v

Oscillate v

Oscillate iv

Oscillate iv