Triskel Arts Centre presents an installation entitled Top Half of The Hero.
Sarah Iremonger’s practice is based on a critical response to issues which arise in relation to the history of painting. Through site-specific wall drawings or paintings, installations, videos, photographs and other works, connections are made to sub-plots in art, such as the myth of the artist, the myth of representational painting and the myth of the gallery as an exhibition space.
In Top Half of The Hero, the hero is ‘art history’ and the top half refers to ‘top heavy’. The work is best received in a post-colonial context, where established western art traditions are turned upside down, exposing and challenging the hidden mechanisms which underpin Irish politics and society today.
Sarah’s earlier works were inspired by early Renaissance painters such as Giotto and the way they represented space on a flat plane, in a one-dimensional way. Since then, she has used different materials and explored the possibilities of narrative and association using both representational and abstract issues found in the history of painting and the history of the exhibition space. These themes continue to inform her recent work, and this can be seen in the Top Half of The Hero.
Extracted from the press release, Triskel Arts Centre 2002
Sarah Iremonger’s practice is based on a critical response to issues which arise in relation to the history of painting. Through site-specific wall drawings or paintings, installations, videos, photographs and other works, connections are made to sub-plots in art, such as the myth of the artist, the myth of representational painting and the myth of the gallery as an exhibition space.
In Top Half of The Hero, the hero is ‘art history’ and the top half refers to ‘top heavy’. The work is best received in a post-colonial context, where established western art traditions are turned upside down, exposing and challenging the hidden mechanisms which underpin Irish politics and society today.
Sarah’s earlier works were inspired by early Renaissance painters such as Giotto and the way they represented space on a flat plane, in a one-dimensional way. Since then, she has used different materials and explored the possibilities of narrative and association using both representational and abstract issues found in the history of painting and the history of the exhibition space. These themes continue to inform her recent work, and this can be seen in the Top Half of The Hero.
Extracted from the press release, Triskel Arts Centre 2002