A Correct Chart of Frames
approaches painting as something built, held and seen through. Bringing together oil painting, laser engraved acrylic, projection, reflective surfaces, exposed supports and framing devices, the installation examines how images are carried, blocked, reflected and made provisional.
The title turns on a contradiction. A chart promises order and orientation, while the work refuses a single position from which it can be fully seen. The frame stops being an edge. It becomes a device that redirects, obstructs, reflects and produces the image. Hinges, brackets and supports remain visible, making the image dependent on the structures that usually disappear behind it.
The project asks what happens after a painting leaves the wall: as photograph, archive, screen image, memory and trace of display. Engraved acrylic behaves like a screen, veil and aperture, catching light while withholding full visibility. Painted surfaces keep the evidence of slow contact, while projected and reflective elements shift before they can settle.
Painting becomes a field of frames, surfaces, shadows and delays. Images are never simply shown. They are held, interrupted and remade by the conditions that allow them to appear.
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Threshold Trace, 2026
Laser cut and engraved pearlescent cast acrylic, 38 x 54 cm
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Obsidian Mirror, 2026
Laser cut pearlescent cast acrylic, dark acrylic sheet, paint, plywood, galvanised steel brackets, 63 x 99 cm
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Obstructed Field, 2026
Oil on canvas, 110 x 130 cm
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False Register, 2026
Oil on canvas, 120 x 162 cm
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Afterimage, 2026
Oil on canvas, 120 x 162 cm
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Aperture Trace, 2026
Oil on canvas, 120 x 162 cm
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Veil Sheet, 2026
Laser cut and engraved pearlescent cast acrylic, 50 x 88.5 cm
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Compression Study, 2026
Moving image
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Support Structure, 2026
Painted wood, steel, acrylic, projection, 50 x 68 x 28 cm
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Grey Interference, 2026
Laser cut and engraved transparent coloured cast acrylic, 50 x 88.5 cm
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A Correct Chart of Frames, Installation view, NCAD Works, Margaret Clarke Gallery, Dublin
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Palette