Éadaoin Glynn is a visual artist living in Cork interested in abstraction. She studied literature and thinks of her paintings as visual poetry.
Upcoming solo exhibitions include the Limerick Museum, The One Space, Rathduff, Cork and Upstairs@Walters, ArtNetDlr, Dublin. Recent group shows include Art Enriches Life?, the Narrow Space, Clonmel; Hand of Man, Backwater Artists Studios, Cork; New Yin Art, Crane Visual, Cork; New Beginnings, Blue House Yard, London; OXO, the Outset Gallery, Galway; Summer of Love, the Courthouse Gallery, Ennistymon; Point of Perspective, Artlink, Donegal the London Art Biennale, London.
In 2023, Éadaoin founded the Warrior Artist podcast as a source of inspiration and reference for Irish visual artists.
Statement
My work explores metamorphosis, transformation and erosion both in nature and autobiographically. It investigates the idea of ‘self’ and ‘other’, of difference and conformity and the roles of womanhood and motherhood.
My process starts with observation of the landscape. I gather interesting objects on my walks, such as branches, roots and torn plastic left by the tide, wind and human debris. I use them as painting tools, to make marks and mono print. I paint on the floor with water-based media. I sculpt large rolls of unstretched canvas and heavy paper into valleys and peaks on my studio floor, into which I pour and drip diluted paint. There are long periods of watching and waiting, allowing wet paint to bloom, fade and slowly evaporate into tidelines of pigment. The painting emerges during the process of painting. I gradually build up multi-layered forms, capturing traces of time and movement. I recreate the marks, lines and scars I observe in nature by cutting canvases and works on paper and re-assembling them into new compositions. I studied literature and believe that words are important. I often dig and gouge words into wet paint or collage writing into paintings to record my thoughts. Sometimes these recorded thoughts are buried under further layers of paint. Sometimes fragments survive in the final composition. The negative space between painted areas becomes increasingly important as I carve out the composition.