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Taloi Havini: Reclaiming Space and History Latest Ocula Conversation
In Partnership with Artspace Sydney
Taloi Havini: Reclaiming Space and History By Ruth McDougall, Sydney

Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .

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Sydney Biennale Connects Here with Everywhere Ocula Report Sydney Biennale Connects Here with Everywhere By Soo-Min Shim, Sydney

'This year's Biennale of Sydney seems like a corrective,' writes Soo-Min Shim, 'prioritising autonomy in an international exhibition format that has all too often omitted or sidelined First Nations artists.'

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Hell is a Place on Earth: P·P·O·W Looks to History in Context of Covid-19 Ocula Insight Hell is a Place on Earth: P·P·O·W Looks to History in Context of Covid-19 By Stephanie Bailey, London

In the United States, parallels have been drawn between the HIV/AIDS crisis and what is unfolding with Covid-19. These connections feed into P·P·O·W's online exhibition, Hell is a Place on Earth. Heaven is a Place in Your Head .

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HomePage Artists

b. 1945, Ireland

Sean Scully Biography

Best known for his large-scale, grid-like paintings, artist Sean Scully has long been a proponent of abstraction. Desiring to rescue the mode from remoteness and re-inject it with exalted feeling, in a 2016 interview with Ocula Magazine, Scully explained his devotion to the style, saying, 'in my paintings, I don't paint space. I paint things. I paint the stripe as if it's a kind of life and death.'

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Born in Dublin, Scully grew up south of London and studied painting at Croydon School of Art, London, and Newcastle University, where he was inspired by the colour field paintings of Mark Rothko and the minimalist abstraction of Bridget Riley. In the 1970s, he moved to America for a graduate fellowship at Harvard and later settled in New York, where he still lives part-time, in addition to Munich. His status as an immigrant and outsider has long been an important part of his philosophy about life and art.

Scully's earliest paintings, made in the UK, were inspired by the bright colours and wild stripes of Moroccan textiles. However, following his move to America in the 1970s, Scully simplified his motif and reigned in his palette. His paintings from that era to the present day are characterised by their compositions that are made up of several rectangular or square sections painted in various colours—often deep, rich and stormy or autumn-toned hues. Several thickly brushed layers of oil paint on each section result in illusions of luminescence or movement, with a dynamic surface texture often compared to skin.

Reflecting his upbringing in working-class neighbourhoods and his adult life in cities, Scully's works from the 1980s were inspired by conflict, discord, haphazard urban planning and human competition for survival—weighty themes reflected in the paintings' sombre palettes and cramped, brick-like compositions. While in such early works Scully used tape to delineate the clean, structured sections on his canvases, he later abandoned that hard-edge aesthetic and began painting more loosely, allowing the shapes to breathe and show evidence of their making. In Battered Earth (1988), for example, patches of cream-coloured rectangles belie their earthy underlying layers, as do the blood-coloured sections with the umber paint beneath.

Showing a further loosening up of technique, Scully's major 'Wall of Light' series works (1998–ongoing) are first drawn out with charcoal stuck to the end of a long stick before being filled in with paint. The series begun when the artist was travelling in Mexico and was struck by the play of light on Mayan stone walls. Indeed, the combination of vertical and horizontal bars in Scully's paintings are often compared to architectural elements; the sections are said to resemble Stonehenge-like structures.

While he mostly works with oil on canvas, Scully also uses watercolour, pastels and aquatints, as well as painting directly on aluminium—a support that enhances the thickness of the oil paint and its illusion of emitting light. His recent sculptures borrow the same compositions as his paintings; Air (2018) is a large cube made of multi-coloured recinto, marble and cantera, assembled in blocks that create asymmetrical grid patterns when viewed from each angle.

Scully has been named as a Turner Prize nominee twice: in 1989 and again in 1993.

Elliat Albrecht | Ocula | 2018

Sean Scully Featured Artworks

Red Doric 7.15.19 by Sean Scully contemporary artwork
Sean ScullyRed Doric 7.15.19, 2019Pastel on paper
102.6 x 152.4 cm
Kerlin Gallery Enquire about this work
Wall of Light Cubed by Sean Scully contemporary artwork
Sean ScullyWall of Light Cubed, 2007Granite
400 x 2000 x 800 cm
Kerlin Gallery Enquire about this work
Battered Earth by Sean Scully contemporary artwork
Sean ScullyBattered Earth, 1988Oil on canvas
183 x 183 cm
ShanghART Enquire about this work
WALL OF LIGHT KOREA by Sean Scully contemporary artwork
Sean ScullyWALL OF LIGHT KOREA, 2012Oil on linen
160 x 160 cm
Sold
Wooson Gallery

Sean Scully Recent Exhibitions

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Contemporary art exhibition, Group Exhibition, Painters Reply: Experimental Painting in the 1970s and now at Lisson Gallery, New York
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27 June–9 August 2019 Group Exhibition Painters Reply: Experimental Painting in the 1970s and now Lisson Gallery, 10th Avenue, New York
Contemporary art exhibition, Group Exhibition, Painters Reply: Experimental Painting in the 1970s and now at Lisson Gallery, New York
Closed
27 June–9 August 2019 Group Exhibition Painters Reply: Experimental Painting in the 1970s and now Lisson Gallery, West 24th Street, New York
Contemporary art exhibition, Group Exhibition, Lignes at Galerie Lelong & Co. Paris, Paris
Closed
18 May–13 July 2019 Group Exhibition Lignes Galerie Lelong & Co. Paris, 38 Avenue Matignon

Sean Scully Represented By

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Sean Scully In Ocula Magazine

Sean Scully Ocula Conversation Sean Scully By Elliat Albrecht, Guangzhou

Already recognised in the Western art historical canon, 71-year-old Irish-born, American-based artist Sean Scully ’s oil paintings are characterised by their geometric constructions and painterly expression. These two disparate modes marry in the artist’s canvases and act as a retort to the rigidity of last century’s hard...

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Sean Scully In Related Press

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Sean Scully takes up residence in Picasso’s former studio at Château de Boisgeloup Related Press Sean Scully takes up residence in Picasso’s former studio at Château de Boisgeloup 6 November 2019, Wallpaper*

'I'm the Donald Trump of the art world,' Sean Scully jokingly declared in the BBC documentary released in April this year about his art and life as one of the world's wealthiest living artists, in which he jets around the world on his private jet.

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Reconciling Secular Art in Sacred Spaces Related Press Reconciling Secular Art in Sacred Spaces 20 July 2019, Hyperallergic

VENICE — The two most arresting exhibitions I saw among the Venice Biennale's collateral displays were Sean Scully's Human and Artists Need to Create on the Same Scale that Society Has the Capacity to Destroy: Mare Nostrum , curated by Phong Bui and Francesca Pietropaolo for The Brooklyn Rail . Scully's show is a magisterial display of...

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Painters Reply: Experimental Painting in the 1970s and Now Related Press Painters Reply: Experimental Painting in the 1970s and Now 2 July 2019, The Brooklyn Rail

On some timely occasions, we get the true pleasure to be reminded of T.S. Eliot's 'historical sense' (from his famous 1919 essay Tradition and Individual Talent). This historical sense involves a perception, not only of the pastness of the past but of its very presence, which simply implies a co-function of simultaneous existence and simultaneous...

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The Best Things to See at the 2019 Venice Biennale Related Press The Best Things to See at the 2019 Venice Biennale 13 May 2019, AnOther

The 58 th edition of the Venice Biennale, May You Live in Interesting Times curated by Ralph Rugoff–from London’s very own Hayward Gallery–proves to be as interesting as its title promises. Venice is an easy city to get lost in, and it’s easy to see why Proust dubbed the city’s labyrinth of alleyways a network of 'innumerable slender capillary...

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