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In recent years Eithne Jordan has addressed the traditional genres of painting: Landscape, Interiors and Still Life. Her movement from phase to phase is a process of self-correction, self-discipline and exploration, an engagement with the demands and limitations of each genre. Many of the images have a curious half-remembered or imagined quality. This is unsettling but very satisfying, - they resemble empty stage sets or movie stills, poised and prepared for human activity or abandoned and discarded after use. This is a measure of the extent to which the subjects are a formal device through which the artist can explore form, composition and perspective. The most recent images - industrial zones and urban environmrnts, melancholy spaces inhabited only by objects or machines, arise directly out of the earlier Still Life paintings. They are, in one sense, giant Still Lives depicting monumental shapes in the landscape. In another sense they audit the aesthetic of the world we inhabit, the motorways, garages and warehouses that serve our needs and become a passive part of our visual consciousness.
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