Summary of Sean Scully
Scully came to international prominence as a painter of abstract works featuring combinations of squares and stripes. Having abandoned figurativism in the mid-1960s, and a series of precise line paintings in the early 1970s, he turned to "sculptural" canvases that got their name because they featured heavy, tangible, stretches of paint and abutted panels that impose themselves on the viewer. These signature works left behind the almost technical precision of his line compositions in favor of a freer application of paint that gave rise to an expressive translation of color, light, and texture. Scully's paintings appear to have no referent but thematically they often deal with metaphorical ideas that touch on the artist's own spirituality and memories of people, places and objects. In more recent years Scully has focused more on sculpture, working with Corten and stainless steel to produce imposing, stripped back, monuments that celebrate, rather than disguise, their grid-like structure.
- Inspired initially by the optical effects of Bridget Riley's stripped patterns, Scully's early 1970s works presented a series of supergrid paintings featuring tight overlapping and precise linear patterns that revelled in their "musical" combination of color and light. The idea of marrying symmetry with expression went a long way to revive the fortunes of abstraction after a decade in which Pop Art had dominated.
- Once Scully had encountered Conceptual Art and Minimalism, he moved on from his aesthetic grid paintings to a more stripped-back style. He describes taking his work back to "ground zero" by which he meant a focus on the perfectly rendered stripe. The result was a unique series of works that aimed to use the stripe to stimulate in the viewer a pure spiritual experience. Even though Scully referred to the works as romantic and quasi-religious, his line paintings were very highly prized amongst the elite New York Minimalists who saw him as one of their own.
- Following a personal tragedy, Scully abandoned his meticulous line paintings for a style that featured a series of colored blocks and panels, applied through the thick application of paint. These melancholic works related more to the physical world and alluding (albeit obliquely) to the challenges and frailties of human relationships. Nick Orchard, Head of Modern British Art at Christie's, suggested that these works "create [a sombre] mood in a way that no other painter has since Rothko".
- Scully's larger scale canvases, such as those featured in his Landline series, evoke in the viewer the idea of the sublime. The concept of the sublime is used to explain a picture quality that generates such physical, moral, aesthetic and/or spiritual intensity the viewer's ability to comprehend the work is temporarily overwhelmed. This series, produced during a period of debilitating physical suffering, carry within their fluid lines an intense emotional experience.
- Scully is associated with the concept of "floating paintings" which feature hand painted (imperfect) vertical stripes. Attached to the gallery wall by one edge, these works assume a middle ground somewhere between sculpture and painting. Refuting the idea that these pieces might be considered pure sculptures, Scully likened them rather to architectural illusions in that they asked the viewer to consider both the painting and the space that surrounded it. Indeed, these non-traditional, site-specific, "sculptures" saw the artist associated with the rise of Post-Minimalism.
Biography of Sean Scully
The eldest of two boys, Sean Scully was born in Dublin, Ireland in 1945. When he was just four years old, his family emigrated to London, travelling by boat across the Irish Sea in search of a new life (Scully later dedicated his painting Precious (1985) to this perilous journey during which the boat was lost at sea for over eight hours). Once in London, the Scully family settled in an Irish community in Islington, before moving to the suburbs of Sydenham. Though he considered himself an adopted son of London, Scully was proud of his Irish heritage stating "I'm Irish in the mythic, romantic sense but, in the living sense, I'm a Londoner".