ALTHOUGH based in London, Mary McGowan is currently showing in two new venues in Munster; the Alliance Francaise in Cork, and the Dyehouse Gallery in Waterford - the focus of this review. Her favoured medium is monotype, a spontaneous printing technique where each image is an original in itself, rather than part of an edition. As proofing is not possible before printing, and reworking an image afterwards is usually avoided, the whole process can be an unpredictable one. A manifestation of this difficulty is present in some of McGowan's prints, where the paint or ink has dried slightly while still on the plate, producing occasional patchy areas.
Her imagery is comprised exclusively of doll like figures, which display such endemic physical features as a stumpy form, large eyes and bob hairstyles. These figures are often arranged in tight groups which dominate various sparse, mythological and religious settings. But one of the most forceful themes of the show is evident in Mischief which exposes the struggle to disentangle the paradox of sinister activity hidden behind seemingly innocent exteriors.
The wonderfully exotic colour of burning reds and glowing yellows, coupled with the dark complexion of several characters, suggests a connection with "primitive" art from warmer climates. In works such as Last Supper and Conflict, the scratchy surface texture found elsewhere is deemphasised, fostering a purity in design and colour more appropriate for these simplified figures. But the importance of colour is manifest fully when McGowan works directly onto glass, as in Wild Horses and Dark Pool. Here, a striking effect is achieved by mounting, the glass over white paper to lend a luminosity from underneath, while on the surface the unprinted paint retains its full colour saturation.
. Runs until March 30th
