I am primarily a painter, but I also produce collages, assemblages and drawings. In my paintings I aim to achieve a balance between intentional, planned marks and painterly instinct. As a starting point, I often take certain motifs which are associated with iconic moments in modernism such as Analytical Cubism or Abstract Expressionism. I am interested in what the vocabulary and iconography of Modernism means now in a different time and context stripped of the immediacy it once had and the messages it once served to articulate. I am also fascinated by the way the locations we spend time in at different stages of our lives continue to haunt our visual memory. The idea of trying to re-capture these moments in paint, or any other medium, seems to me to be an essential human impulse. For this reason I also feel that fragments of past genres, styles and movements can have endless potential in the present, depending on our interpretation of them.
At about the time I finished art college, I was producing large gestural abstract paintings. When I am producing a painting now I often find myself coming back to that very physical process of dragging paint or allowing it to drip and run in unexpected directions. What I have added to this in recent years is a certain amount of control and conscious editing of the accidental to produce a canvas which is the result of both intuitive and planned marks and motifs. 
However, there is always a greater amount of intuitive painting going on in my canvasses than simply research-led theorising. Ultimately, my aim is to produce something forward-looking and vivid from the lessons of painting’s recent past. The work is layered with references; moments from art history, personal experiences, travels and memories, and of course painterly experimentation, to create a coherent whole.

Robbie O'Halloran - April 2016