Ink on paper, 2019

23 x 28 cm
$1 450
Taking as axiomatic the notion that there is no time but the present, which contains past and future, I work serially as a means to employ this concept of time. Much of this thought stems from Gilles Deleuze’s ideas on difference and repetition. In painting a motif or an image over and over again, I see a continuity in time simultaneously accepting the still image. A painting will never be a narrative in motion, but perhaps it can allude to the temporal or omnipresence. I enjoy how in every repetition something specific, and therefore new, occurs. Welding concept with form, I lean toward bending the nature of paint to fulfil a graphic need mimicking ideas of reproduction, the print, paper, ink, a doodle.
Biographical note
Delphine Hennelly uses pattern, repetition, and uncanny colour palettes to address prescribed gender roles, immediacy of painting, and the human condition. The inspiration for her work includes tapestries, art history, and early modernism. Hennelly has exhibited across the U.S. and Canada, including most recently at Massey Klein, New York; Pt.2 Gallery, Oakland; and Projet Pangée, Montreal. Past exhibitions include a two-person show, History Lessons, with Mimi Jung at Carvalho Park, Brooklyn, and she made her European debut in May 2019 at Lisa Kandlhofer Gallery, Vienna. Hennelly is a three-time recipient of the Elizabeth Greenshields Foundation Award. Her work has appeared in numerous publications, including ArtMaze Magazine, Nut Publication, and New American Paintings. She received her BFA from Cooper Union in 2002 and her MFA from the Mason Gross School of Visual Arts at Rutgers University in 2017.