Ciarraí MacCormac’s expansive paintings frustrate fundamental parameters of spatial orientation and do not appear as a delimiting confluence of the horizontal and the vertical but rather as a spatial surface that appears two- dimensional and multidimensional simultaneously.
Here, painting has liberated itself from the canvas and frame, the ‘image’ is restless and never quite caught. Skins of paint are stripped and pulled from a glass frame, the paint skin is attached to walls and ceilings with hooks or nails, allowing the material to create its own form. The paint oozes, collapses and buckles once hung, giving an internal value, changing the method of painting and the process of making. These works are inadvertently relevant to the self, the human condition and what it means to be alive.
MacCormac’s work updates the procedure of viewing painting, dissolving the distinction between painting/ sculpture and addresses the viewer to move in the space. Inviting physical involvement with the work it allows for continuous production of new images, perspectives and viewpoints with their body movements and perceptual acts. The surroundings become part of the image and the image has become the environment.