Grey test pattern 1, 2015
Painting : acrylic, gouache · 45.7 x 61 cm 18 x 24 inch
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
45.7 x 61 cm 18 x 24 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2015 • Top Seller
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This seller offers discount when you purchase multiple artworks.
Description
Test Pattern series sets up a generic template as a poetic prompt to consider how behavioural responses to color and form stimulate an abstract sense of contemporary being.
The ostensible template here refers to the color calibration test of the machinic eye (the camera's eye) in a common tool for this purpose, the test pattern. This is not a strictly conceptual usage however, but more of a purposeful play with instrumental meaning and its possible liberation in poetic trance.
Like the Survey and Decal series, the Test Pattern series intend to refer to technological and social conditioning, or the abstraction of contemporary experience, and also the potential for transcending that conditioning by grasping it in the physical and perhaps less-determined form of paintings on wood panel.
Presentation
He draws inspiration from minimalist and post-minimalist traditions and through the work of geometric abstraction artists like Frank Stella. McGlynn treats Kasimir Malevich, Ellsworth Kelly, Mary Heilmann, Barnett Newman and Peter Halley as his artistic influences. McGlynn is also fascinated by phenomenology, studying structures of human consciousness which is unveiled via experiments. By turning contemporary common forms into abstract, putting them back in order, to trigger an emotional response, he is devoted to what he describes as "a kind of contemporary realism." McGlynn considers the entire visual landscape of culture, including medias, architecture, advertising and various other elements of the urban backdrop as the "accumulated sediment of the broadcasted conscience". He treats this "sediment" as his raw material and turns it into abstract.
McGlynn paints his work with a lot of energy, by slowly applying acrylic layers on wooden panels, canvases or paper. The artist, writer and conservator Brendan Carroll, co-founder of Agitators Collective commented his work "At first glance, the compositions seem orderly and balanced. But when one gets a closer look, the rectangular strips aren't symmetrical, but interspersed and unequal. They refute uniformity...His visual language is the outcome of an indifferent observation of the world which surrounds him...McGlynn's work leans....on the immediate effect of observing things....".
His work is part of several permanent institutional collections, these include Victoria and Albert Museum in London, Whitney Museum and MoMA in New York.McGlynn exhibited a lot and also participated in various installations and group projects in USA. His work appeared on Artforum's cover in October 1991 and his exhibitions were commented in the New York Times.
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