
In Fitzpatrick’s paintings, figurative forms appear enmeshed within complex systems of processes, sounds, memories, and ideas. Bodies morph into musical and mechanical apparatus, while objects become animated or anthropomorphic. In one painting, a human heart is swapped for a glass armonica, an 18th-century instrument with melancholic tones once thought to induce madness. In another, a masked figure plucks at the strings of a suspension bridge, becoming a self-playing Aeolian harp.
The title A Musical Instrument references a poem by Elizabeth Barrett Browning, in which the pagan god Pan transforms a reed from the riverbed into a panpipe, not knowing the pain caused by ‘Making a poet out of a man’. Music-playing, and by extension, all creative expression, is positioned as something mediumistic, involuntary, and yet also a source of struggle. In Fitzpatrick’s paintings, however, it also appears to foster a kind of connectivity: spines become injected with musical notes; bodies seem to communicate through diagrammatic wave particles; tangled webs of veins, nerves, and arteries imply a porosity of self, a consciousness that expands beyond our physical bodies.
Kerlin Gallery was founded in Dublin in 1988. It has built an international reputation for its dedicated, meaningful representation of leading contemporary artists through its exhibition, publishing and art fair programmes. Its current site was designed by the minimalist architect John Pawson in 1994 and offers 3,600 square feet of exhibition space over two floors in the heart of Dublin City Centre.

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