Golden Brian

Damien Flood

Golden Brian, 2019.
Coil wound earthenware clay, metallic glaze with gold leaf.
Dimensions: 20 x 13 x 13 cm

Ph credit & courtesy of the artist.


This little figure is very delicate and it looks primitive. It is emphasising the brain as the centre of our consciousness. The sacredness of the brain is related to the notion of mortality and the obscureness of death. Death is often impenetrable as well as the brain mechanisms that are protecting us from shocking emotions. The brain is not allowing us to accept death even if the latest is surrounding us all the time and we know very well that everything is going to an end. [V.C.]

Over the last 2 years I’ve begun to broaden the materials I use within my practice. This has been a desire since around 2014 but has taken until recently to find the time and way to do it.
I think new ideas that have begun to emerge within my work could not be executed in paint. The initial ceramic works have taken the form of vases, urns, and figures which tug with dark humour at chords of association with primitive cultures and pagan offerings while echoing the emotional landscape of my paintings.
Golden Brian is a good example of this. The figurative vase has a primitive feel but a modern humour to it. Poking fun at our stupidity and grandiose ideas about ourselves.

The ceramic works also explore the tension I exploit in the transition from the real world to the fragmented world of imagination and memory, further pulling on the tension between a figurative and abstract language. They bring with them a new layer to my practice and add dynamic possibilities for exhibitions through contemporary and historical cultural references. The ceramic works incorporate a wide range of techniques from coil winding, glazing, gilding, under firing and raku firing. My intention with them is to enhance the handmade and give the appearance of found artefacts that come from within the world of the paintings while simultaneously referencing everyday objects.

Damien Flood is an Irish artist based in Dublin.

His work is grounded in early writings on philosophy, theology, alchemy and the natural sciences and explores the mutability of ‘reality’ and language.

Solo shows include: Shape of Things, Diane Rosenstein Gallery, LA2019, The Figure in the Carpet, Green On Red Gallery, Dublin2018, Theory of Two Centres, Stephane Simoens, Knokke, 2017, Infinite Plane, Grey Noise, Dubai, 2015, Interior Sun, Green On Red Gallery, 2014, Theatre of the World, Ormston House, Limerick, 2012, History of the Visitation, Green On Red Gallery, 2011, Counter-Earth, Green On Red Gallery, 2010.

Recent group shows include: DF/HW, Thomas Rehbein Gallery, Cologne, 2018, Known Unknowns, Limerick City Gallery, Wouldn’t it be nice if we could dream together? Diane Rosenstein Gallery, LA (both 2017), The Studio Chronicles at RH Contemporary, New York (2015), Product Recall, Galway Arts Centre, Galway (2015), NGORONGORO, Lehder Strasse 34, Berlin (2015), Cú Chulainn Comforted, Basic Space, Dublin (2015), Promise of Palm Trees, Breese Little, London, (2015), Pull Bite Rally, NCAD Gallery, Dublin (2014). Renew, Green On Red Gallery, Dublin (2014,) Was Uns Trend, Glue, Berlin (2014). In 2013, he exhibited in the group exhibition Island: New Art From Ireland in Galleria Civica diModena, Italy; in the three-person show Flood/NiBhriain/Vari at DOMOBAAL, London; and the group show Cafe Paradiso (Least common denominator, or Rustenschacher) at M1, Hohenlockstedt, Germany. In 2012, he was part of the group show Making Familiar at Temple Bar Gallery, Crystalline at Millennium Court Arts Centre and Last at Douglas Hyde Gallery.

He has been selected for the John Moores Contemporary Painting Prize in 2008 and 2010. In 2014 he was the recipient of the Elizabeth Fitzpatrick Travel Bursary administered by the Royal Hibernian Academy and in 2015 was awarded the DLR Lexicon 2016 Commission. Most recently Flood was awarded the Eigse Hotron Award 2017.

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