Hannah Mooney | Notes from the West | October 2019 | The Scottish Gallery

HANNAH MOONEY Hannah Mooney HANNAH MOONEY notes from the west

1

THE

SCOTTISH

GALLERY

CONTEMPORARY ART SINCE 1842

Hannah Mooney notes from the west

16 Dundas Street Edinburgh EH3 6HZ +44 (0)131 558 1200 scottish-gallery.co.uk

Introduction My eyes first locked onto the work of Hannah Mooney across the crowded galleries of the Royal Scottish Academy’s New Contemporaries show which were crammed with monumental expressions of the historic avant-garde: installations of neon and black boards, industrial tanks, steel pipes and tapes, a large soft toy and ballooning latex, but none achieved the same visual impact as Mooney’s group of quiet landscapes and still lifes. And I was not alone. My fellow judges of the Fleming-Wyfold Art Bursary, numbering independent curators and teachers at the cutting edge of contemporary practice, agreed and we unanimously awarded Hannah the bursary.

It was a brave decision to award the prize to a young realist devoid of modish irony.

After presenting a stunned Hannah with the prize, I was keen to discover more. ‘I owe everything to my parents,’ she said. ‘They’re both artists and have always encouraged me.

There’s never been a time when I haven’t had a brush in my hand.’

Growing up in Donegal, Hannah’s earliest experiences as an artist are steeped in the subtle light of the west. When painting a clay nativity scene at primary school, she eschewed bright primary colours in favour of ‘a mix up of my own muted palette; a combination of warm browns, reds and gold.’

This is the reaction of a child already transfixed by the world around her - a connection retained throughout her maturing as an artist, and continued use of a restrained palette to achieve dramatic climatic effects. Technically she also relies on the unfashionable palette knife to capture the essence of the moment. She writes: ‘The sky is perhaps the most inspiring element of the landscape, being the key source of light, drama and movement. When in the landscape or studio I think about how I would address the ever-changing elements in paint; how a slither of the palette knife could suggest a wispy cirrus cloud or a deft brush mark the motion of a tree blowing in the wind. I think about colours that could honestly portray the poignancy of a daytime light or the oppression of an oncoming storm.’

Others - such as the young Cézanne and Manet - have used the palette knife to convey the depth of their emotions, but Mooney also looks further back to the landscape painter of the Barbizon school, Jean-Baptiste-Camille Corot, to whom she turns when overwhelmed by the challenge of painting outdoors in the eye of the storm: ‘I reflect how Corot would have expressed the movement of a tree in a spontaneous, childlike way with his wavering, shaky hand and squiggly lines. His sketches retain the freshness of his vision and direct response to nature.’

2

Back in the studio, Mooney can focus on still lifes revealing a technical accomplishment particularly in the effects of stems seen through glass and water - worthy of old masters.

‘Like the landscape,’ she writes ‘painting flowers is a way of building my relationship with paint, which is key to my ability and confidence to express any subject matter.’

With this exhibition, Mooney is now launched on the world, but she comes with a final plaudit from the RSA exhibition: none other than the legendary curator, Richard Demarco, who brought European conceptualism to Britain in the 1960s and 70s, who told me: ‘You couldn’t have picked a better winner. Every stroke is about beauty and truth.’

James Knox Director, Fleming-Wyfold Art Foundation, August 2019

Note: Mooney’s quotes are taken from correspondence with James Knox

3

Hannah Mooney Since graduating from Glasgow School of Art my pursuits as a creative practitioner have become more focused and purposeful. At Glasgow School of Art I had fantastic, dynamic tutors, peers and a studio space with lots of natural light. The school attracts many independent, resourceful, and artistically driven individuals. It is an energetic environment in which most students strive to learn, test themselves, allow themselves to fail and discover.

I now spend a lot of time on my own which has always suited me since a young age. I have a studio in Glasgow but return regularly to Counties Mayo and Donegal. Both are essential to my growth as a young artist. The studio in Glasgow is a necessary space to review and rework oil sketches and have contact with my contemporaries.

When in the city, I try to reflect on the landscape’s spirit; it’s bountiful energy, elemental force, unpredictable mood and drama.

My endeavours are clearest when working close to nature in three to four week intense blocks of time. In Ireland I am surrounded by an abundance of wildlife and natural habitat. I often paint from the garden which is set in a pastoral landscape leading into unspoilt farmland and the plains of Co. Mayo.

This year I have been revisiting a range of trees; sycamore, ash, birch, oak, chestnut, alder and hawthorn. Where they looked so lifeless and sparse in winter and were then covered in the 4

abundant growth of spring, they now enjoy mid-summer resplendence. I find it peaceful to study the slow and steady life cycles and progress of a tree. This subject matter has fired the artistic imaginations of many of my predecessors and fuelled their innovative approach to capturing the landscape.

The more time I spend outside the more my respect grows for the tradition of plein air painting; the honest pursuit, mastery of technique, and above all, sensitivity to nature.

Trees at Ballyglass, 2019

When in the countryside I try to be observant of the relationship between light and land; how it changes throughout the days and seasons.

Afternoon shadows from trees fall differently from those of daybreak. It is even interesting that the birds are quieter midday than in morning and

evening. Everything is slower at those times. I find that midday light can be harsh and unforgiving. Delicate nuances and hues of the landscape are lost.

Dawn and dusk are appealing times as the colours are so contrasting and rich. Trees are transformed into dark silhouettes, making the landscape so dramatic; light and dark all at once. It is no wonder these times have attracted many creative personas.

None of my paintings are greatly detailed; one can never capture it all.

Without relying on literal representation, I try to suggest an essence of place, time of day and atmosphere. I find painting technically challenging, especially working outside.

Painting the sea and sky here can be energising, cold, confusing and ultimately rewarding. The elements change so quickly and trying to express this sense of transience is testing.

However, the smooth surfaced boards I work on allow me to do so in a fluid, loose way.

I don’t think there is an emotional pull greater than that of the sea. I was fortunate enough to grow up beside Lough Swilly in County Donegal where I made my first plein air sketches in gouache and painted with my father.

I walked the shoreline daily and associate it with a range of emotions: contentment, isolation, but above all, freedom.

Across Lough Swilly, County Donegal, 2018

5

In 2018 at the New Contemporaries exhibition at the Royal Scottish Academy, Edinburgh I received the Art in Healthcare Award and FlemingWyfold Art Bursary. I believe that the Royal Scottish Academy is responsible for the continued growth of many young artists in Scotland. The Mall Galleries in London have also been extremely supportive and awarded me the Hottinger Prize for Excellence at the FBA Futures Exhibition. These experiences enabled me to meet some wonderful people who motivate me to keep making, learning and living as an artist. If I had not received the FlemingWyfold Bursary, I would not have had the opportunity to work towards two solo shows in London and Edinburgh.

Few artists are fortunate enough to receive such encouragement, help and guidance so early in their career. My mentor Susanna Beaumont took me to various, quite diverse exhibitions which made me question different styles of curation, presentation, galleries and spaces across the UK. Ultimately it made me question how I would like to develop professionally as an artist. As the Royal Scottish Academy awarded me the John-Kinross scholarship in 2017, I will travel to Florence in mid-October.

I am now eager to immerse myself in Italian culture, atmosphere, light and landscape, in the hope that this will enrich my vision. After the scholarship I plan to explore new areas of Scotland and Ireland before building a new body of work.

Hannah Mooney, August 2019

6

Hannah Mooney, 2017

Lough Swilly, County Donegal, 2018

7

1 Across Ballyglass I 2017, oil on board 16.5 x 14 cm

8

2 Impasto Seascape Study 2019, oil on board 10 x 13 cm

9

3 Tree in Co. Mayo Landscape 2019, oil on board 10 x 16 cm 4 Across The Landscape of Ballyglass II 2019, oil on board 13.5 x 10.5 cm

10

5 Tree, Ballyglass, Co. Mayo 2018, oil on board 15 x 19 cm 6 Tree at Ballyglass I 2019, oil on board 15.5 x 12.5 cm

11

7 Study of Tree, Ballyglass 2019, oil on board 13.5 x 10 cm 8 Plein Air Study of Tree, Ballyglass 2019, oil on board 15.5 x 10.5 cm

12

9 Evening Tree Study 2018, oil on canvas board 13 x 15.5 cm 10 Tree Study, Co. Mayo I 2018, oil on board 12.5 x 14.7 cm

13

11 Co. Mayo, Evening 2018, oil on board 10 x 13 cm

14

12 Across Ballyglass IV 2019, oil on board 20 x 12.5 cm

15

13 Across Ballyglass III 2018, oil on canvas 17.5 x 12.5 cm

16

14 Tree Study, Co. Mayo II 2018, oil on plywood 10 x 14.8 cm

17

15 Small Landscape with Tree 2016, oil on board 10.5 x 15 cm 16 Trees at Ballyglass 2017, oil on board 10.5 x 16.5 cm

18

17 Across the Landscape, Co. Mayo 2019, oil and graphite on board 25.5 x 30.3 cm

19

18 White Flowers I 2019, oil on board 15 x 12.2 cm

20

19 White Flowers II 2019, oil on board 15 x 12 cm

21

20 Flower Still Life 2019, oil on board 15 x 12.3 cm

22

21 Study of Fruit III 2017, oil on board 16 x 20 cm

23

22 Flowers in a Vase 2018, oil on board 40.5 x 31 cm

24

23 Sunflowers 2018, oil on board 20.2 x 15.3 cm 24 Wildflowers and Roses 2018, oil on board 20 x 16 cm

25

25 Small Study for a Seascape 2019, oil on board 10 x 13 cm

26

26 Study for a Landscape, Co. Mayo 2019, oil and graphite on board 19.4 x 23.5 cm

27

27 Dark Seascape Study I 2019, oil on board 16 x 20 cm 28 Dark Seascape Study II 2019, oil on board 10 x 13 cm

28

29 Dark Seascape Study III 2019, oil on board 25.5 x 30.5 cm

29

30 Landscape Study of Co. Mayo 2018, oil on board 14 x 12 cm

30

31 Evening Tree 2017, oil on board 20 x 15 cm

31

32 Dark Landscape 2017, oil on board 25 x 30.5 cm

32

33

33 Trees in Wind Beside the Lough 2017, etching AP 9 x 10.5 cm

34

34 Ramelton I 2017, etching 30 x 60 cm

35

35 The Lough at Early Morning 2019, oil on plywood 13.5 x 15 cm 36 Study of the Lough at Evening Time 2019, oil on board 16.5 x 14.5 cm

36

37 Study of the Lough at Morning 2019, oil on board 25 x 30.5 cm

37

38 Seascape Study II 2019, oil on board 14.5 x 16.5 cm

38

39 Across the Lough, Swilly 2019, oil on plywood 13 x 20 cm

39

40 Co. Donegal Landscape I 2018, oil on board 33 x 48 cm

40

41

41 Towards the Ferry House Study I 2019, oil on board 12.5 x 15.5 cm

42

42 Looking Towards the Ferry House 2019, oil on board 16 x 20 cm

43

43 Across Co. Mayo 2019, oil on board 12.5 x 15.5 cm

44

44 Towards the Ferry House Study II 2019, oil on board 20 x 30 cm

45

45 Across the Lough 2019, oil on board 18.5 x 26 cm

46

46 Lough 2019, oil on board 25.5 x 30.5 cm

47

47 Blue Seascape 2019, oil on board 15 x 13.5 cm

48

48 Long Irish Landscape 2017, oil on board 10.5 x 25.5 cm

49

49 Little Trees 2016, oil on board 7 x 15 cm

50

50 Tree at Ballyglass II 2018, oil on board 16 x 20 cm

51

51 Across the Lough Monochrome Study 2017, oil on board 19.5 x 20.2 cm

52

52 Light on Lough Swilly 2019, oil on canvas board 12.5 x 17.5 cm 53 Long Monochrome Study 2017, oil on board 5.8 x 20 cm

53

54 Monochrome Landscape Study 2019, oil on board 14.5 x 16.5 cm

54

55 Lough Swilly in Storm I 2018, oil on board 13.5 x 15.7 cm

55

56 Seascape II 2018, oil on board 40.5 x 73.5 cm

56

57

57 Seascape I 2017, oil on board 46 x 89.5 cm

58

59

58 Lough Swilly at Evening Time 2019, oil on board 10 x 16 cm

60

59 Co. Mayo II 2017, oil on board 25 x 30.5 cm

61

Biography Hannah Mooney b.1995 Ramelton, Co. Donegal, Ireland

Education: 2013-14 Art and Design Foundation, University of Ulster 2014-17 BA Painting and Printmaking, Glasgow School of Art Awards: Fleming-Wyfold Art Bursary, 2018 Hottinger Prize for Excellence, 2018 House for an Art Lover Award, 2018 Art in Healthcare Prize, 2018 RSA John-Kinross Scholarship, 2017 RSA Landscape Drawing Prize, 2017 James Nicol McBroom Memorial Prize, 2017 Armour Prize, 2017 Glasgow Print Studio Publication Prize, 2017 Dean’s Award for High Achievement, University of Ulster, 2014 Exhibitions:

Notes From The West, The Scottish Gallery, Edinburgh, 2019 Hannah Mooney, winner of the Fleming-Wyfold Art Bursary 2018, John Martin Gallery, London, 2019

New Scottish Artists, Fleming-Wyfold Art Foundation, The Cello Factory, London, 2018 Royal Scottish Watercolours Society Exhibition, RSA Galleries, Edinburgh, 2018

From The Sublime To The Concrete, The Scottish Gallery, Edinburgh, 2018 New Contemporaries Exhibition, RSA Galleries, Edinburgh, 2018 FBA Futures Exhibition, Mall Galleries, London, 2018 RBA Rising Stars Exhibition, Framers Gallery, London, 2018 Aon Art Community Award Exhibition, The Leadenhall Building, London, 2017 Collections: James Nicol McBroom Archive, Glasgow Hottinger Group, London Fleming Collection, London Hannah Mooney, 2019

62

63

Published by The Scottish Gallery to coincide with the exhibition Hannah Mooney Notes from the West 2 - 26 October 2019 The Scottish Gallery thanks James Knox, Director of the Fleming-Wyfold Art Foundation for his introduction.

Exhibition can be viewed online at: scottish-gallery.co.uk/hannahmooney ISBN: 978-1-912900-09-1 Photography by John McKenzie Photography p4, 5, 6, 63 by Hannah Mooney Introduction: copyright James Knox Front cover: Seascape II, 2018, oil on board, 40.5 x 73.5 cm (detail cat.56) Designed and produced by The Scottish Gallery Printed by J Thomson Printers All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by any other means, without the permission of the copyright holders and of the publishers.

THE

SCOTTISH

GALLERY

64

CONTEMPORARY ART SINCE 1842 16 DUNDAS STREET • EDINBURGH EH3 6HZ +44 (0) 131 558 1200 • scottish-gallery.co.uk

THE

SCOTTISH

GALLERY

CONTEMPORARY ART SINCE 1842

66