EDUCATION
1996-98 MFA, The School of the Art Institute of Chicago.
1992-95 BA Honors Fine Art (First Class), University of Northumbria, Newcastle, UK.
1991-92 Foundation Studies in Fine Art, Cumbria College of Art & Design, Carlisle, UK.

SELECTED SOLO EXHIBITIONS
2009 Claremorris Gallery, Claremorris, Ireland
2009 Gallery Karas, Zagreb, Croatia
2008 Saltworks Gallery Atlanta
2007 M.Y. Art Prospects, New York, NY
2006 Purity, Thomas Robertello Gallery, Chicago, Illinois.
2006 Social Security, Customs House Gallery, South Shields, Tyneside, UK.
2005 A New Order, Saltworks Gallery, Atlanta.
2004 Civil Abuse, Ratio 3, San Francisco.
Cul-De-Sac, GFL Gallery, New York.
By Imperial Design, Red Dot Gallery, New York.
2002 Drawings, Chicago Cultural Center, Chicago.
Paintings, NFA Space, Chicago

GROUP EXHIBITIONS
2009 Partisan – Art Chicago, Mary Jane Jacob curator
2008 State of the Union – Thomas Robertello Gallery
2008 OH+T Gallery Boston – New Works on Paper
2007 Time Sensitive Material Group Print Show at Impact Conference, KUMU Art Museum, Tallin, Estonia
2007 Claremorris Gallery Mount St. Claremorris, Co. Mayo Ireland Oct. 6 – 20
2007 Bridge Art Fair Chicago
2007 Spectral Evidence – Curated by Steven Lam – BRIC (Brooklyn Information & Culture) The Rotunda Gallery
2007 This Many! Saltworks Gallery Atlanta, GA
2007 Seeing the Invisible, Ricardo Crespi Gallery, Milan, Italy
2006 Introductions, Thomas Robertello Gallery, Chicago
2006 Liquid Paper, Ratio 3 Gallery, San Francisco, CA
2005 Fifteen Paces, Smack Mellon, Brooklyn, NY
2005 Go Figure! JET Artworks, Washington, DC
2004 The New Collusion, Chicago Cultural Center, Chicago, IL
2003 Phantom Arch, White Columns, New York, NY
2003 Re:Figure, Gahlberg Gallery, College of DuPage, IL
2002 Whitney Biennial, Whitney Museum of American Art, New York, NY
2002 New Figurists, Red Dot Gallery, New York, NY

STATEMENT
The core of my practice focuses primarily on painting and drawing. Largely executed in gouache, the drawings use an economical or distilled line to explore the impact of military control on domestic and public space, and the latent residue of fear or disquiet that resides in seemingly innocuous buildings and spaces. In these drawings violence becomes a form of omission, referring to the removal or containment of unwanted or subversive populations or individuals.
The impetus for my practice as a whole is based on situations of violence and military control, largely drawing on, but not confined to, my experience growing up in Northern Ireland. In the drawings of buildings and urban areas I work almost exclusively from memory in an attempt to strip out all extraneous details. The empty buildings and housing schemes in the drawings are often subject to physical control by the military and in some cases were designed and planned with the help of military technicians to ensure containment of an insurgent population.
The paintings that I produce directly refer to history painting, in particular the works of Velasquez or Goya, and are an attempt at examining the pathology of power. The recent works are executed in black and white, the white void space that surrounds the figures directly referring to aspects of purity, cleanliness or control. The aim of all the work is to raise questions relating to the control of space and boundaries and to explore the various manifestations of social order.

resume (word)

Exhibitions

State of the Union (2008)

Conor McGrady (2006)

Thomas Robertello Gallery - Introductions (2006)

Selected Bibliography

NewCity by David Mark Wise

Chicago Tribune by Alan Artner

NY Arts Magazine interview with Leah Oates

Chelsea Now by Jeffrey Cyphers Wright

NY Times by Holland Cotter (text)

NY Times by Holland Cotter (link)

Chicago Sun-Times by Margaret Hawkins

Chicago Tribune by Alan Artner

Chicago Reader by Fred Camper

Flavorpill Chicago

Washington Post by Jessica Dawson

Conor McGrady

2008

2008

Drawings 2005

Drawings 2005


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