JOANNE LAWS INTERVIEWS ALISON PILKINGTON ABOUT THE METHODS AND INFLUENCES UNDERPINNING HER CURRENT BODY OF WORK. JL: Your paintings seem to combine abstract, diagrammatic and figurative approaches. Are you conscious of having a particular aesthetic in mind, when you embark on a painting? AP: My aesthetic approach or painting style has evolved a lot over the last ten years or so, particularly since embarking on a practice-based PhD at NCAD, which I started in 2009 and completed in 2015. During this time, I made quite a deliberate break from gestural abstract painting. I think I felt the need to free myself up from a particular style of painting. It is
Sometime back in the early 2000s, I began following a blog by a mysterious character called ‘K-Punk’. K-Punk wrote with rare brilliance – and at astonishing speed – about music and other idiosyncratic preoccupations: J.G. Ballard’s urban dystopias; films by Stanley Kubrick, David Lynch and David Cronenberg; 70s sci-fi TV series; the coastal landscapes of south east England; writers of otherworldly stories like Ursula Le Guin and H.P. Lovecraft; X-Men comics; Christopher Nolan’s Batman; Kate Moss; the England football team. His rapturously eloquent, bracingly erudite posts on pop music – in its various underground and overground forms – were, though, the first to snag my interest. Often, they were hilariously spot-on
MARY CATHERINE NOLAN PROFILES CONOR WALTON AND THE DEVELOPMENT OF HIS ART CAREER. Up the hill behind the main street of Wicklow town, Conor Walton lives with his partner and their three children in a former convent. As a result of the building’s previous role, the house has an unconventional structure, albeit with a slightly conventual feel. You enter a wide foyer off which lead the reception rooms, while the bedrooms are organised linearly down a corridor. At the end there is an entrance to the annex, a large, two-storey-high box-like space created from four of the eight original bedrooms which Walton knocked together and now uses as a studio.