In this most recent series, Willie Doherty's starkly atmospheric images reveal the residual traces that mark the surfaces and fabric of natural and built environments. Places that have been formed by the long slow processes of geological time and that have been shaped by the consequences of human intervention: conflict, inequality, neglect, and injustice.
These are works that are characterised by Doherty's watchful reticent intensity, and by his assertion that the image cannot be fixed, cannot be fully comprehended and known. His attention draws us to the small details and nuances of diverse spaces, the materiality of brick, concrete, metal, grass, trees, and wildflowers. There is an unsettled, restless sense of place. Everywhere there are indications of disorder, breakdown, and failure coexistent with signs of growth, recovery, and endurance.
Poetry is found in the most reluctant of places. The brutality of decay transforms into a still and silent beauty, the ambiguity of oppositions yielding to a serene resoluteness existing between somewhere and nowhere. Unfamiliarity is exposed in familiar territory, as disregarded landscapes are no longer forgotten, their histories becoming the fictions of memory.
The passage of time, and the eventual erasure of all traces, pervades these images through the uneasy quiescence between what was and what is, what is and is not. In Doherty's work, the sublime is determinate, the ignored no longer unseen.
Willie Doherty has been a pioneering figure in contemporary art film and photography for four decades. Exploring the relationship between landscape and memory, Doherty responds to mysterious isolated settings that conceal a troubled past. Though his primary geographic reference is Northern Ireland, and especially his native Derry – a city divided along sectarian lines during the 'Troubles', Doherty has trained his lens on sites of contested history elsewhere in the world, including Granada, Pennsylvania and the US/Mexico border. Studying these terrains in forensic detail, Doherty's video and photo works reveal the impossibility of objectivity and historical truth, often using diptychs to set contradictory points of view against each other. His videos unfold slowly, sometimes combining material evidence with haunting fictional monologues that speak of shame, deception, brutality and its aftermath, as if leaking the stories contained within the landscape. Assessing how these sites appear to us now, Doherty uses powerful language and disorientating imagery to reflect on how we approach histories of trauma.
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.
