MEXICO CITY — Certain professions have a niche within the avocation — practitioners who are lauded by their colleagues due to their nuanced approach to their field, but perhaps under-recognized by a wider audience — “comedian’s comedian,” “athlete’s athlete,” and so on. Irish painter Pádraig Timoney is sort of an “artist’s artist.”
One reason for this is the stubbornly interdisciplinary and stylistically eclectic nature of his work. In a solo exhibition of works by the artist at Lulu in Mexico City’s Roma neighborhood, the small front gallery — slightly larger than a freight elevator — manages to feel nonetheless austere in presenting only five works by the artist: a painting, a small sculpture, a photographic print, and two framed drawings. A comparatively more generous cross section of small works by Timoney, including a kind of odd echo of the same statue, are on display in Lulu’s rear (and original) gallery space, but these still do not offer an immediate sense of cohesion or insight into Timoney’s narrative. They appear more as sliding doors into a mind that is constantly scrying the world for a clue as to its underlying connective tissue.
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All images by Ramiro Chaves, courtesy the artist and Lulu, Mexico City