CONOR’S CREATIONS ON SHOW

Wicklow People (West Edition) - - NEWS -

Award-win­ning Wick­low based fig­u­ra­tive artist Conor Wal­ton is ex­hibit­ing his work in Athlone’s Luan Gallery’s au­tumn ex­hi­bi­tion ‘Asym­met­ri­cal War­fare’.

The ex­hi­bi­tion in­cludes some new and pre­vi­ously un­seen works by Wal­ton and was launched by Robert Bal­lagh.

Dublin born Wal­ton ini­tially stud­ied paint­ing at Na­tional Col­lege of Art, Dublin and grad­u­ated with a Joint Hon­ours De­gree in the His­tory of Art and Fine Art Paint­ing be­fore pur­su­ing an MA in Art His­tory at the Univer­sity of Es­sex in the UK. He sub­se­quently trained un­der Charles Ce­cil in Florence, Italy where he mas­tered the tra­di­tional skill of fine art draw­ing and colour. He then re­turned to Ire­land in 1996 and set­tled in Wick­low, where he paints full-time.

Conor works out of a stu­dio in Wick­low town and has won nu­mer­ous awards for his work in­clud­ing ModPor­trait 2017, Arc Sa­lon 2014/15, Por­trait Ire­land 2005, The Tay­lor Prize 1993 and was short­listed for both the BP Por­trait Award in 2005, and the Golden Fleece Award in 2011.

Speak­ing about his work, he said: ‘My aim is to paint pic­tures that ob­vi­ously re­fer to con­tem­po­rary events and beg for in­ter­pre­ta­tion, but that, while po­lit­i­cal in the largest sense, are not re­duc­ible to pro­pa­ganda. I want peo­ple of widely di­ver­gent po­lit­i­cal views to be able to take plea­sure in my work yet be un­sure whether their own opin­ions are be­ing en­dorsed or mocked.’

Wal­ton has lec­tured ex­ten­sively and hosts the ‘Conor Wal­ton Sum­mer School’ schol­ar­ship pro­gramme draw­ing stu­dents from four con­ti­nents.

His com­mis­sioned por­traits can be found in many pub­lic and pri­vate col­lec­tions, and his work has fea­tured on book cov­ers and postage stamps in Ire­land and abroad.

De­scrib­ing the ex­hi­bi­tion, he said: ‘The phrase ‘Asym­met­ri­cal War­fare’ in a way sums up my ca­reer and ap­proach to paint­ing and cul­ture, but has par­tic­u­lar rel­e­vance to my cur­rent work be­cause this deals ex­plic­itly with cul­tural con­flict, with the crises of our times – po­lit­i­cal, eco­log­i­cal, fi­nan­cial, cul­tural and moral – and the warped per­spec­tives that en­sue.’

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