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Jane Fogarty graduated with a degree in Fine Art from the Dublin Institute of Technology (2010). She has been included in many national and international exhibitions including; Assemble, Atelier Maser, Futures, Series 3, Episode 3, the RHA Gallery, slow motion, MART Gallery and Dearly Beloved, VISUAL Carlow.

Awards include; The Individual Artists Bursary Award’ from South Dublin County Council (2016), The Most Promising Graduate Award from The Talbot Gallery (2010), the RDS Lewis Crosby Award for Painting (2010), The Project Award (2012) and the Travel and Training Award (2015) from the Arts Council, Ireland. Fogarty’s work is part of the OPW State Art Collection, Acrylicize London and in private collections. In 2021 Fogarty will present her first international solo exhibition in Canada with support from Culture Ireland.

Statement:

Fogarty’s painting installations combine paper and pigment into compressed, hand-formed shapes and works on paper. An instinctive, evolutionary approach to accrete layers and colours into human-scale compositions is used. The paintings offer a formally different, colour-led interpretation of the sculptures. The paintings evolve without a preconceived notion of their endpoint with compositions that fold inwards. Their colour palette is predetermined, taken from a colour swatch derived from photographs of the sculptures. The paintings are made using egg tempera, with this method, the paints are made from scratch on a daily basis. Then the colour is slowly built up, layer upon layer.

Within Fogarty’s process, each work is specific to the moment of its creation and, even if repeated, results differ each time. Limitations are established from which self-dictated narratives emerge. Through the establishment of these boundaries, elements of chance and endurance enter into the work. This process stems from an interest in the ways we understand the passing of time and its translation into visual language. Analogous to time, these works can be interpreted as accumulation of moments.

The work is slow and contemplative in its creation due to the nature of the processes involved. The process is cyclical. The paintings inform the sculptural works and the sculptural works inform the paintings. Everything is connected.