In 2014, I visited a section of canal between Johnson Lock and Limehouse Basin that had been drained to allow specialist bricklayers to repair damage to the canal wall. I was interested in signs of erosion of sand between the bricks at the highest point and was drawn to the idea of the walls of the canal as indicators of changes over time.

In my recent series Water Levels, a selection from of which I’ll be presenting at the Tabernacle Gallery this June, I’ve use mostly flat colours – jade and blues – to give the feeling of expanding lines. I wanted to give to the illusion of looking down and sideways, to create an abstract interpretation of a real view, which considers elements of temperature, time, air and landscape.

Added tension is created through the use of one strong colour – a light reflected, a moment of tension or a fixed point around which changes occur.

INTERVALS
The Tabernacle Gallery
34-35 Powis Square, London W11 2AT

PRIVATE VIEW
Wednesday 8 June, 6pm – 9pm
with poetry reading by Frances Presley

Exhibition times
Tuesday 7 June – Sunday 12 June 2022

Opening Hours: Tue to sat: 10am – 9pm, Sunday: 10am – 5pm

PRESS

The natural light plays a big part in the pulp art process. Drying in the open air in the right sunny conditions helps the chemical reaction between pigment and fibre resulting in stronger, high-density colours.
The stronger the natural light and the longer it’s been left to dry, the better it is in terms of the pigment being absorbed by the fibre (usually 3 to 4 weeks).

 

Mi sembra molto adeguato il ritorno del trittico di Bosch assieme a 19 altri panelli nel suo paese per la mosta a Noordbrabants Museum.

A diciasette anni, frequentando l’Accademia di Urbino, ho scelto di analizzare il Trittico delle Delizie usando le teorie di Pino Parini. Per iniziare si trove il punto dove l’occhio si ferma e da questo si parte per estendere linee dove c’è peso nel colore e forma. Il gioco del triangolo e del quadrato formano con precisione il trittico (proporzioni in perfezione). L’occhio scoperto si estende esponendo simboli alchemici del periodo storico.

Opening of the group exhibition ‘in the open’ this evening, 5.00 – 7.00 pm at Murray Edwards College, Cambridge. pic.twitter.com/72zRJNWQjv

— irma irsara (@irma_irsara) September 1, 2015

I’ll be showing four new pieces at the exhibition ‘in the open’ at Murray Edwards College in Cambridge. The work is a result of a collaboration with poet Frances Presley who’s book Halse for Hazel also features cover image and inside pictures specifically created for the project. The private view is open to all and exhibition runs until 29th September – opening hours 10.00 – 6.00 every day.

<blockquote class=”twitter-tweet” lang=”en”><p lang=”en” dir=”ltr”>Thanks to everyone who came to the private view of PULPS <a href=”https://twitter.com/LauderdaleHouse”>@LauderdaleHouse</a> yesterday evening – much appreciated! <a href=”http://t.co/60gxos5EKV”>pic.twitter.com/60gxos5EKV</a></p>&mdash; irma irsara (@irma_irsara) <a href=”https://twitter.com/irma_irsara/status/606080967074312192″>June 3, 2015</a></blockquote>
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Photographic documentation of my site-specific work in the Victorian ice wells at the London Canal Museum, Kings Cross in 2013. Zero Celsius was an experimental and ever-changing time-based installation using ice forms, melanix, organic material, video and lights, which reflected shifting and changing geographical boundaries as a result of climatic conditions.

http://www.blurb.com/books/6103639?ce=blurb_ew&utm_source=widget