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The paintings in ‘Cell Theory’ are peppered with references to medieval systems and structures; a fountain’s plumbing, architectural studies, diagrammatic renderings of heaven and hell. Egan conflates imagery from micro-biology with macro-cosmology, observing that the world, when viewed extremely close-up or impossibly far away, appears as clusters of much the same colliding, spinning discs.
Egan’s paintings are built up incrementally over richly coloured underpainting, with delicate strokes that coalesce in luminous patches of colour. Often the works germinate from a direct image-referent, such as in ‘Decreation Machine’ (2025), which began as a faithful rendition of Messina’s ‘Pietá’ (1476). Through a gradual act of painting, the image-referent is atomised and abstracted — composition as decomposition. The figures of Christ and the angels who support Him in the ‘Pietá’, are broken down into constituent cells, their bodies fragmenting into shards of painted colour, like...More
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The paintings in ‘Cell Theory’ are peppered with references to medieval systems and structures; a fountain’s plumbing, architectural studies, diagrammatic renderings of heaven and hell. Egan conflates imagery from micro-biology with macro-cosmology, observing that the world, when viewed extremely close-up or impossibly far away, appears as clusters of much the same colliding, spinning discs.
Egan’s paintings are built up incrementally over richly coloured underpainting, with delicate strokes that coalesce in luminous patches of colour. Often the works germinate from a direct image-referent, such as in ‘Decreation Machine’ (2025), which began as a faithful rendition of Messina’s ‘Pietá’ (1476). Through a gradual act of painting, the image-referent is atomised and abstracted — composition as decomposition. The figures of Christ and the angels who support Him in the ‘Pietá’, are broken down into constituent cells, their bodies fragmenting into shards of painted colour, like...More
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