Medb Ruane reflects on Cléa van der Grijn’s visual treatise on loss and mourning on view at Solomon Fine Art, Dublin
Cléa van der Grijn still from JUMP 2018
Medb Ruane reflects on Cléa van der Grijn’s visual treatise on loss and mourning on view at Solomon Fine Art, Dublin
Four neon letters on the wall leading to Cléa van der Grijn’s touring exhibition of paintings and film spell out the word ‘Jump’. Part lure, part command, it might be urging a passage to an act from which there is no return. The act is death, here the fictional death on film1 of a maiden dressed in white who will walk along a concrete pier, look at the lake waters into which it leads and jump. Paintings present images as surfaces and depths of the lake where the fictional young woman’s life may end. One shows a graceful hand drifting over virgin blues; another, a limp foot receding from view.
To read this article in full, subscribe or buy this edition of the Irish Arts Review
F our neon letters on the wall leading to Cléa van der Grijn’s touring exhibition of paintings and film spell out the word ‘Jump’. Part lure, part command, it might be urging a passage to an act from which there is no return. The act is death, here the fictional death on film1 of a maiden dressed in white who will walk along a concrete pier, look at the lake waters into which it leads and jump (Fig 1). Paintings present images as surfaces and depths of the lake where the fictional young woman’s life may end. One shows a graceful hand drifting over virgin blues another, a limp foot receding from view.
Research into theoretical principles across the fields of art, science and aesthetics imbue Nuala O’Donovan’s work, writes Mark Ewart
Eamonn Doyle’s portraits of Dubliners are unposed, untroubled by vanity and full of momentum, writes Stephanie McBride
