Urban Art Association

Fintan Switzer collection - MISTRAL - available now, by k2 on Oct 23, 2019 15:01:39 GMT 1,

loughercontemporary.shop/collections/fintan-switzer

Lougher Contemporary is pleased to present a new body of work by Fintan Switzer.

An eight painting ode to the later works of Vincent van Gogh. Mistral takes its name from the long mythologised northwesterly wind that violently passes through the region of Provence, in the south of France, most commonly during the changing of seasons. A dry, cloudless wind that can last for weeks at a time, it's said to effect the nerves and minds of those who experience it.

The results being a sense of foreboding or nervous apprehension that seems at odds with the visibly clear and quiet splendour of the region. It has been supposed that van Gogh was tormented by the mistral wind during his time in Arles, both practically and mentally, and this is perhaps evidenced in his later paintings. They certainly seem to examine the duality of serene calm and violent intensity he must have felt in this new environment.

Likewise, these eight paintings aim to explore a similar terrain, endeavouring to merge subjects traditionally associated with still life painting with a more violent method that relies on movement and chance to scarify the tranquil surface.

loughercontemporary.shop/collections/fintan-switzer

Lougher Contemporary is pleased to present a new body of work by Fintan Switzer.

An eight painting ode to the later works of Vincent van Gogh. Mistral takes its name from the long mythologised northwesterly wind that violently passes through the region of Provence, in the south of France, most commonly during the changing of seasons. A dry, cloudless wind that can last for weeks at a time, it's said to effect the nerves and minds of those who experience it.

The results being a sense of foreboding or nervous apprehension that seems at odds with the visibly clear and quiet splendour of the region. It has been supposed that van Gogh was tormented by the mistral wind during his time in Arles, both practically and mentally, and this is perhaps evidenced in his later paintings. They certainly seem to examine the duality of serene calm and violent intensity he must have felt in this new environment.

Likewise, these eight paintings aim to explore a similar terrain, endeavouring to merge subjects traditionally associated with still life painting with a more violent method that relies on movement and chance to scarify the tranquil surface.