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by Dr Tony Partridge

an exhibition of recent paintings at the Fenderesky Gallery 2015


“… One day I would cross a threshold into an enormous park, an endless and beautiful park; in this park one ingenious invention would succeed another. Plants and music would follow in lovely mathematical alternation, delightful to the ear and answering to the utmost notions of delicacy; but this park was not there to be used, or wandered about in, because it consisted of a thousand and one small and miniscule square and rectangular and circular islets, pieces of lawn, each of them so individual that I would be unable to leave the one on which I was standing. In each case, there is a breadth and depth of water that prevents one from hopping from one island to another in my imagining. On the piece of grass which one has reached, how is a mystery, on which one has woken up, and where one is compelled to stay, one would finally perish of hunger and thirst. One’s longing to be able to walk through the whole park is finally deadly.”


A Sweep of Time

by Dermot Healy, April 2009

Eigse Catalogue : selected artist

Dura mater 2006What Sinéad Aldridge does is pierce a painting through a lot of paper work to try and resolve the structure. The palette begins with colour and line simultaneously. She draws from real life but what ends uo on the canvas is an attempt to capture time, and the landscape , and the mind of the body that observes those links. A painting can begin for her by what she saw looking out from the windows of an aeroplane or the structure of a car she saw in passing.

Forms are humbling, like old friars or nuns, whipped across the canvas in a quiet Baconesque spirit. The titles of the works are often plays on words, as are the paintings themselves, a play on what we see. An eye is buried at the core of the work titled Keeper. What Remains to be asked  leaves the question hanging in the air. She glues rabbit skin in a tight stretch onto the board to leave a gap at the edges so the image can float.

Colour is linear. A line of blue is the sky. The surrounds are the sudden changes in light along a beach. Colour is her climate. Red drips down like blood. The pillow is surrounded by boards. Everything is shifting. A glance changes everything in one quick brush stroke . The cobalt blue allows a green to go in a different journey. The grey flies off quietly without a sound. Temperament is echoed, as line and colour suddenly form ancient faces and bodies made of circles. The neck rises up into the physical imagination. Emotions sit playing on a bench.

works and days

 by Slavka Sverakova 2008

Catalogue solo exhibition The Sligo Art Gallery 2008

Frontrow 2008Preliminary note: Sinead Aldridge emailed me the following quote shortly after I reviewed her exhibition at the Dock in Carrick – on- Shannon in 2006.i

“It seems that Nozkowski – at one level – is constantly biting at the
boundaries of abstractions, and certainly painting’s history. Rather than taking painting to its physical limits as a Fabian Maccacio or Jessica Stockholder might do, Nozkowski is closer in spirit to Jonathan Lasker and Raoul de Keyser in his interrogation of painting’s limits from within. Irrespective of
his sources or even intentions, each encounter is a new beginning, a
new experience and not just an unsubtle philosophical argument.”

The key idea is “interrogation of paintings from within” – Aldridge does that in her commitment to restore painting’s prestige.