ANDREW McILROY – Tempest

As one of a new wave of highly regarded Australian Romantic artists, Andrew McIlroy creates evocative, elemental paintings stemming from his deeply personal and individual experiences. McIlroy’s painted seascapes are beautifully rendered in strong saturated tones, with tumultuous seas and stormy skies.

Art Exhibition previously on at Gould Galleries in Victoria, Australia.
From Thursday 04 September 2014 to Saturday 18 October 2014

Broken Silence image Lost  image Not long Now  image Courage  

 image Blind Faith   image Exhuberance image Storm Waters   image The Turning   image Tempest  image Wipe-Out  image Hell's Gate image Embers   image Lost   image Through It Now   image A Calm Descends   image Open Waters   image Heavy Seas   image Not Long Now   image Swell   image Bouy   image

Published by Gould Galleries on Thursday 28 August 2014.
Contact the publisher.

“A painter should not merely paint what he sees in front of him, he ought to paint what he sees within himself. If he sees nothing within, he should not paint what he sees before him.”

If the essence of McIlroy’s paintings went only this far, they could be viewed as outward looking, non-sensual depictions of nature. But in Tempest, McIlroy’s latest body of work, there is clearly something deeper going on. McIlroy’s paintings, in their composition and palette, capture the artists mood, promoting a strong sense of emotion with the force of nature still ever present.

McIlroy works out of his studio in a century old rubber-glove factory in Richmond in Melbourne’s inner-city. It is here that he immerses himself in creating imagined seascapes that have their basis in reality, but are produced more from a memory of deeply sensual, heightened and at times disturbing experiences, capturing both the ‘unseen’ and the ‘known’.
McIlroy says:

‘My paintings are deeply personal, a metaphor for the fears and anxieties that gripped me as a child. I know I am not alone in these life experiences so I hope to emotionally engage and connect with the viewer using familiar images and universal experiences.’

In this, McIlroy succeeds.