M A R Y B U R K ES E M I - D E T A C H E D R E F L E C T I O N S

In memory of my late parents Michael and Sally Burke

S e m i - D e t a c h e d R e f l e c t i o n s .

This new body of work by Mary Burke reflects the shifting contours of the artist's development. While the

theme of suburban living is not altogether unexpected, the kinetic energy inherent in the reflection and the

introduction of the human figure mark a new phase in the artist's progression. Certain constants remain in

place: the excellent quality of the workmanship, the use of pastel on daler board, the detached mood of the

subject, the soft mauves and blues of the palette constructing a duality of emotive expression, all negotiated

through the twin icons of modern life, the suburban house and the car.

Mary Burke uniquely pursues an in-depth exploration of the trappings of urban living. Painters

traditionally address two polarized aspects of Irish life: the elegance of Georgian Dublin or, the way of life

typified by a small cottage in rural Ireland. While Robert Ballagh ostensibly portrays life in an artisan's

dwelling, the main point of his narrative focuses on his personal engagement with the visual arts, rather

than the reality of city life itself. The relentless momentum of the urban sprawl has made suburban living a

reality for a majority of the population. Yet interestingly, while this life style has been widely expressed in

Irish literature, it has found little or no resonance within the visual arts.

This is also true of the centrality of the car in modern life. Cars increase in numbers every year and

constantly congest our road network. However, fewer and fewer of us are willing to avail of public transport.

While the car has always been a key motif in Burke's oeuvre, this new collection of pastels places the vehicle

centre stage, as all the work is literally reflected in the body work of the car.

Many of the universal questions in the history of art are mediated through the use of reflection. From the

Renaissance forward, the convention of mirror has been employed by painters such as Jan Van Eyck to

question the illusionary aspect of the craft of painting. This constructs a tension between the clarity of the

image, viewed in perspective, and the modified reality inferred in the mirror image. The artist Mary Burke

takes this 'play' even further by presenting her subject through the burnished surface of the car via the

passenger door, wheel arch, bonnet and light cluster. Each painting captures a different angle, and shows

yet another distorted view of the built environment, neatly trimmed with strips of lawn and palm tree.

Distorted reflection is one of the lingering motifs evident in the artist's work. Recent exhibition piece such

as VW Reflection No. 1 (shown in The Royal Ulster Academy Exhibition, 2003) depicted a Volkswagen

estate parked in a driveway with the streetscape reflected in the gleaming surface of its bodywork. Earlier

paintings, such as the haunting stillness of School Reflections (exhibited in 1990), show the artist's

preoccupation with the almost abstract shapes viewed in the polished surface of the floor. In an innovative

development in Mary Burke's art-making practice, the current suite of paintings confronts the viewer in a

challenging manner, as the artist mediates her image in reflection

through the body of the car itself. The use of traditional perspective is

abandoned and we are tantalized by a distorted familiarity of a known

subject, expressed in a new and perplexing way. The visual

fragmentation of the picture plane results in a kinetic force

culminating in the disconcerting realization that this is similar to the

fleeting moment one experiences a hundred times a day. Each piece

explores the subject from a different viewpoint: the rear bumper, the

light cluster, the windscreen, as the artist constantly juxtaposes the

concrete and the ephemeral.

Traditionally, whether the subject is streetscape, landscape, or

interior, Mary Burke has not featured the human figure in her work.

However, this most recent body of work indicates a new path in the

artist's development as it includes no less than three self-portraits.

The artist usually resists inclusion of the human presence as it

distracts from the mood of isolation, solitude and loneliness which is

characteristic of her work. Yet, approximately once a decade, she

shyly placed herself in the picture. These self portraits build into a

visual diary of Burke's art-making practice.

The earliest self-portrait, Night Painting, was created during the

artist's college days in 1982. This oil on canvas represents a study of a

curtained bedroom window, radiator and chest of drawers. However,

closer examination reveals a Van Gogh-like interior reflected in the

glass, showing the artist working with palette in hand in the tidy

bedroom space. An oil pastel, also painted in 1982, reworks the same

motif but now the image is negotiated entirely through the paneled

surface of her studio window. The artist once again stands at her easel

but the mixing palette central to the technique of oil painting, is

abandoned in favor of the pastel, and the subject is backlit, providing

a shadowed, negative-contour type reflection.

Nine years later, in 1991, two very different self-portraits show the

artist at work. In Volvo 340, the central theme of the painting appears

to be the monumentality of the car in the driveway of Larchfield

Road. Closer examines reveals the distorted arch of an easel, echoing

the front passenger headrests, and, slowly, we glimpse the shadowy

profile of the painter at work. The evasive nature of this subject contrasts with a second self-portrait

completed in the same year. This portrait within a picture is presented almost in the still life tradition. Once

again the artist employs the interior/exterior motif as a sharply-focused portrait of the artist drawing, is

situated on a window still flanked by a milk bottle and a jug containing studio equipment. The pristine

clarity of the garden and surrounding houses provides an almost contra jour effect as it set off the darker

tones of the portrait.

The current suite of self-portraits date to 2003 and signals a change in Burke's art-making practice. No

longer do we see the artist posed at the easel, working directly from the subject, but instead she stands,

camera in hand assessing, capturing and judging images to be reworked in the studio. The starting-point of

this new body of work reflects the confluence of two technologies: the still photographic images and the

freeze-frame selection of a video shot. Therefore, it is fitting that the painter has marked the importance of

the 'view-finding' process in the manipulation of surfaces in her ever-evolving technique. This group of self-

portraits stands apart from the main thrust of the collection because although they often present in ripple

reflection, there is a clarity and directness in their approach.

While all art represents a single moment in time, there is a new immediacy about this collection of work.

The unexpected multi-layered viewpoint abandons the static, and presents a sense of movement that

challenges the viewer to make sense of the rhythms of the contours. The architonic structure of the

streetscape takes on a new form as it writhes and twists within the reflected bodywork of the car. The fact

that the artist has included her own portrait presents a personal comment on her mark-making technique.

The organic nature of Mary Burke's image-making surprises and whets the appetite for future

developments.

Maebh O'Regan

Volvo 340 . Oil Pastel on Board 1991.

Self Portrait. Oil Pastel on Board. 1991

Self Portrait. Oil Pastel on Paper. 1982

Maebh O'Regan graduated from Trinity College Dublin with aBachelor of Arts degree in the History of Art and ClassicalCivilization. She continued her studies in the National College ofArt and Design where she was awarded a Ph.D. for her thesis onthe life and work of the 19th century Irish painter, RichardThomas Moynan. Maebh has been lecturing in the NCAD since2000. Her main focus of interest is Irish art practice.

VW Reflections. Oil Pastel on Board. 56 cm x 41 cm.

Golf. Oil Pastel on Board. 56 cm x 42 cm.

Headlight. Oil Pastel on Board. 41 cm x 56 cm.

Suburban Self Portrait. Oil Pastel on Board. 56 cm x 41 cm.

Semidetached Portrait. Oil Pastel on Board. 56 cm x 41 cm.

Palm Tree. Oil Pastel on Board. 61 cm x 81 cm.

Rear Window. Oil Pastel on Board. 81 cm x 61 cm.

Semidetached Reflections. Oil Pastel on Board. 56 cm x 81 cm.

Car Curves. Oil Pastel on Board. 56 cm x 41 cm.

Biographical Details

Born 27.11.1959

StudiedNCAD 1977-82 ( ANCAD , BA Fine Art )LSB College, Dublin. 1998-2000 (MA Anthropology)

Solo ExhibitionsDraiocht Arts Centre, Blanchardstown, Dublin (2004)Domein Kastelenhof, Stekene, Belgium (1999)The Irish Institute for European Affairs, Leuven, Belgium (1999)The Irish Club of Belgium, Brussels (1998 )Solomon Gallery, Dublin (1994 )Garter Lane Arts Centre, Waterford (1992 )Monaghan County Museum (1992 )Solomon Gallery, Dublin (1991)West Cork Arts Centre (1991 )Solomon Gallery, Dublin (1988)Belltable Arts Centre, Limerick (1985 )Lincoln Gallery, Dublin (1984 )

Selected Group ExhibitionsR.H.A. Annual Exhibition (1982,83,84,85,86,88,89,90,91,92,93,94,95,96,97,98,2003,04)50/50 Temple Bar Gallery, Dublin (2003)Royal Ulster Academy of Arts Annual Exhibition, The Ulster Museum, Belfast (1992,97,00,01,03) Figurative Art Ireland (2003)Art at the Rotunda, Rotunda Hospital, Dublin. (2002)Iontas,Small Works Exhibition, Sligo Art Gallery & Touring. (1993,01)Virtual Studio, NAS event, ARTHOUSE, Dublin. (2001)Aer Rianta Gateway To Art, Dublin Airport (1988,89,90,91,93,94,95,97, 98,99,00)Day Out in Tallaght. 3 Person Exhibition, Tallaght Community Arts Centre (1999)Boyle Arts Festival (1991,95,99)Group Exhibition, Dyehouse Gallery, Waterford (1998)Oireachtas Art Exhibition (1980,82,83,84,85,86,97,89,90,91,92,93,94,95,96,97,98)Group Exhibition, Cavehill Gallery, Belfast. (1997)The Art Supermarket, Brown Thomas, Dublin (1997 )R.H.A. Banquet Exhibition, R.H.A Gallery, Dublin (1992,95,96,97 )Group Exhibitions, Solomon Gallery, Dublin (1987,88,89,90,91,92,94,95,96 )N.A.S. Anniversary Exhibition, R.H.A. Gallery (1993 )Exhibition of Miniature Art, Gallery 788, Toronto (1993 )Biennale Internationale d’Art Miniature, Salle Augustin- Chenier, Ville-Marie, Quebec (1992 )Arnotts National Portrait Exhibition ( 1991)

ART INC (Art from Corporate Collections), Guiness Hop Store, Dublin (1991)American National Miniature Show, Laramie, Wyoming, U.S.A. (1990,91 )Exhibition of Miniature Art, Del Bello Gallery, Toronto (1987,88,89,90,91 )Claremorris Open (1981,82,83,84,91 )N.A.S. Portfolio Exhibition, Irish life Centre, Dublin (1990 )An Urban Angle, N.A.S. Touring Exhibition (1988 -90 )Dialogue - Artists in Schools, Douglas Hyde Gallery, Dublin. (1989 )Miniature Art, Marietta/ Cobb Fine Arts Center, Georgia, U.S.A. (1989 )Group Show, Sue Williams Gallery, London (1988 )A Place of Work, N.A.S. Touring Exhibition. (1987-88 )E.V.A Exhibition of Visual Art, Limerick (1984,88 )Limerick Contemporary Art Society Collection Touring Exhibition (1987 )Four Views, N.A.S. Touring Exhibition (1986-87 )S.A.D.E. Sculpture & Drawing Exhibition, Crawford Gallery, Cork (1982,87 )N.C.A.D. Decade Show, Guinness Hop Store, Dublin (1986 )The School Show, Arts Council Touring Exhibition (1986 )Edinburgh Arts Festival Exhibition (1985 )G.P.A. Awards Exhibition for Emerging Artists (1983 )Independent Artists, Hugh Lane Gallery, Dublin (1980, 82 )

ResidencesArtists Residency, Banff Centre for the Arts, Alberta, Canada (1996)Artists Residency, Vermont Studio Centre, U.S.A. (1993 )

AwardsGolden Fleece Award ( 2003 )Arts Council/Aer Lingus Artflight Award (1998)Arts Council Travel Grant (1995)United States Information Agency Fellowship (1993)Arts Council Materials Grant (1993)Arts Council Residency, St Brendans Community School, Birr (1990)Arts Council Documentation Grant (1989)Arts Council Exhibition Grant (1986)Grumbacher Artists Brushes Award (1984)Elizabeth Greenshields Foundation Bursary, Montreal (1984)Taylor Bequest Painting Scholarship, R.D.S.(1981)

Commisions includeScott, tallon, Walker, ArchitectsThe Arts CouncilTelecom EireannAer Rianta

Collections includeAdshel LtdAer RiantaA.I.B. Bank, Cork

A.I.B. International Financial Services Centre, DublinAirmotive IrelandAlbany Homes, Property Developers, Head Office, DublinThe Arts CouncilBeauchamps Solicitors, DublinBoyle Civic CollectionCantrell & Cochrane Group Ltd.C.I.E.Hotel Conrad, DublinArthur Cox & Co Solicitors, DublinGovernment BuildingsGood & Murray, Smith & Co Solicitiors, DubilnI.P.F.P.U.T.Irish Intercontinental Bank, DublinLimerick Contemporary Arts SocietyMonaghan County MuseumOffice of Public Works Showerings (Ireland ) LtdSouth Dublin County CouncilSt Brendans Community School, BirrTelecom EireannUlster Bank Centre, DublinUlster Breweries, Belfast

Bibliography“Semidetached Reflections”. Catalogue Introduction. Maebh O’Regan. 2004“Mary Burke: begenadigd Ierse schilderes - een impressie.” Catalogue Introduction. Lone Leth Larson. Director Danish cultural Institute Brussels. February 1999.“Front Row”. The Irish times 9.9.1999.“On The Boyle.” Review of Boyle Arts Festival by Aidan Dunne. The Irish Times. 28.7. 1999.“A Morning at New Art Studio.” Hilary Pyle. NAS Newsletter. Vol. 1. Number 1. November 1998.“The Art of Mary Burke.” Catalogue Introduction. Desmond MacAvock. November 1998.“Double View.” The Sunday Tribune. 27.12.1998.“Mary Burke at Solomon Gallery.” Aidan Dunne. The Sunday Tribune. 15.5.1994.“X Marks”. John Farrell. CIRCA. no. 66 Winter 1993.“New Art Studios at RHA Gallagher Gallery.” Aidan Dunne. Sunday Tribune. 26.9. 1993.“Easter Exhibition at the Solomon Gallery.”Desmond MacAvock. The Irish Times. 20.4.1992.“Mary Burke: Suburbanscapes.” Catalogue introduction by Aidan Dunne. 1991.“Mary Burke at Solomon Gallery”. Desmond MacAvock. The Irish Times. 15.5.1991.“Mary Burke at Solomon Gallery.” Aidan Dunne. The Sunday Tribune. 12.5.1991.“Review : Painting”. Aidan Dunne. CIRCA Art Magazine. No.50. Mar/Apr 1990.“The Best of the Eighties.” Aidan Dunne. The Sunday Tribune. 31.12.1989.“The Oireachtas Art Exhibition.” Desmond Mac Avock. The Irish Times. 21.9.1989.“Joint Exhibition at RHK.” Desmond MacAvock. The Irish Times. 16.11.1989.

“An Urban Angle.” John Hutchinson. In Dublin. 10.11.1988.“Summer show at Solomon Gallery.” Desmond MacAvock. The Irish Times. 20.7.1988.“A Millennium Exhibition at the Solomon.” Desmond MacAvock. The Irish Times. 23.6.1988.“Steel, Glass and Shimmering light.” Kate Robinson. The Sunday Independent. 21.2.1988.“Solo at the Solomon.” John Hutchinson. The Sunday Press. 14.2.1988.“The Life and Works in a Semi Detached Studio.” Mary Burke interviewed by Ciaran Carty.The Sunday Tribune 14.2.1988.“Kitchen Sink Realist.” Aidan Dunne. The Sunday Tribune. 14.2.1988.“Hall and Stairs.” Catalogue introduction. Hilary Pyle. February 1988.“Irish Women Artists.” A National Gallery/Douglas Hyde Gallery publication. 1997.“A Place of Work at the RHK.” Aidan Dunne. The Sunday Tribune. 27.9.1987.“Four Views at Cork Arts Society Gallery.” Hilary Pyle. The Irish Times. 28.1.1987.“Four Views at Garter Lane Arts Centre.” Peter Jordan. CIRCA Autumn 1986.“The NCAD Decade Show.” Catalogue introduction. Aidan Dunne. 1986.“The Happiest Days?” Review of The Arts Council School Show by Kate Robinson. The Sunday Independent. 16.11.1986.“Take Four.” New Hibernia. September 1986.“Mary Burke at The Belltable Limerick.” Hilary Pyle. The Irish times. 5.9.1985.

BroadcastsTelevisionCity Scene. Cablelink. 17.9.1999.On The Town. RTE 1. 19.2.1988.Self Aid. RTE 1. 17.5.1985.Irelands Eye. RTE 1. 10.11.1982.

RadioThe Arts Show. RTE Radio One 25.4.1995.The Arts Show. RTE Radio One 1512.1994.The Arts Show. RTE Radio One 30.1.1990.Appraisal. RTE Radio One. 28.1.1988.Appraisal. RTE Radio One. 18.2.1988.Appraisal. RTE Radio One 24.9.1987.Appraisal. RTE Radio One 23.10.1986.Appraisal. RTE Radio One 13.11.1986.Education Forum. RTE Radio One 13.11.1986.The Mike Murphy Show. RTE Radio One 14.5. 1985.Appraisal. RTE Radio One. 27.7.1983.

A c k n ow l e d g em e n t s

I would like to thank the following for their assistance:David Browne and all at NAS, Austin Carey at DIT, Carissa Farrell at Draiocht, Maebh O’Regan. Special thanks toAileen Ryan for her support and encouragment.

Printed by Hudson Killeen Limited

Copyright ©2004 Mary Burke and Maebh O’Regan