l a u r a g a n n o n
Laura Gannon's work oscillates between drawing, sculpture, painting and film. Recent works include abstract drawings made with metallic ink on linen. The linen has been subjected to multiple processes to reveal its corporeality: folding, bending and wrinkling suggesting their raw physicality and directness. Her artwork titles are chosen from female literary and architectural references. She uses the titles of short stories and the names of architects, embedding the works with the possibility of narrative and architectural scale. Gannon's films mark a parallel to her sculptural drawings with their articulation of temporality, light, space and the act of looking; intimate portraits of distinctive architectural buildings.
Gannon lives and works in London and West Cork.
Recent solo exhibitions include VISUAL, Carlow, (2019-20), Kate MacGarry, London (2018), Espace Croisé, Centre d’Art Contemporain, France, (2016); Silver House, Uillinn; West Cork Arts Centre, Ireland, (2015).
Group shows include Drawing Biennal, Drawing room, London (2019) Andersen’s Contemporary, Copenhagen, (2018), Show Window, Kate MacGarry, London, (2016); Folly: Art After Architecture, Glucksman Gallery, Cork, (2014); A House of Leaves, David Roberts Art Foundation, (DRAF) London, (2013). A House in Cap-Martin was included in Customary Beauty, Mor-Charpentier, Paris, (2011); Silver House was screened as part of the Official Selection Milano Design Film Festival, (2017).
Associate Artist Programme, Lux, London 2009
Masters, Fine Art, Goldsmiths University, London 2003
B.A Fine Art, Belfast School of Art, University of Ulster 1995
Work held in Public and private collections including: British Government Art Collection U.K, Dublin City Gallery The Hugh Lane, Kadist Foundation, Paris, The University of Chicago Booth School of Business, Arts Council Ireland.
Laura Gannon, Works on Linen
Laura Gannon’s works are abstract drawings made with metallic ink and iridescent acrylics on linen. The linen has been subjected to multiple processes to reveal its corporeality: folding, bending, wrinkling. Gannon describes these works as “sculptural drawings” or “performative drawings”, suggesting both their raw physicality and directness. Although having the bones of minimalism, Gannon circumnavigates straight lines, masking tape and 90° angles. These physically scaled drawings reveal both their humanity and relationship to the body.
Laura Gannon’s new works oscillate between drawing, sculpture and painting. She has stated, “there is an element of what I term psychological data embedded in the work.” Thought and time are suggested through each mark, and each shadow of a mark. In smaller works on paper and linen, Gannon continues the use of metallic inks with momentary gasps of brighter colour. Through reduction and repetition Gannon imbues these sculptural drawings with fragility and sensuality.
There is a balance between adding and subtracting from the surface. The cutting out and removing of sections of linen is counterpointed with the attachment of linen strips through weaving, sewing and eyelets inserted in punch holes. These works go through a rigorous physicality being made and re-made many times until they find their own completion.
The titles of these works are from titles of short stories by Lydia Davis. These stories are sometimes very short, sometimes a sentence long. The acerbic humour they express meant that they were great Lockdown companions. These titles allude to the constant movement between the interiority of the studio and the external world beyond.
Getting to Know Your Body (a short story by Lydia Davis)
If your eyeballs move, this means that you’re thinking, or about to start thinking.
If you don’t want to be thinking at this particular moment, try to keep
your eyeballs still.