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Waters Of Night – Pádraig Timoney

Indipendenza annuncia l’apertura di waters of night, personale dell’artista Pádraig Timoney a cura di Gérard Faggionato.

Timoney porta a Indipendenza una nuova sfumatura della sua indagine sulla costruzione dell’immagine. Con una trentina di lavori tra specchi e tele, la mostra è costruita per creare un sistema di riflessi molteplici in cui sia noi che lo spazio fluttuiamo in una danza di apparizioni e sparizioni: a volte vere, quando guardiamo dentro gli specchi, altre volte soltanto suggerite, quando al contrario il nostro sguardo si posa su quelli che Timoney definisce «specchi rotti»:tele a carboncino nelle quali ha ricreato l’effetto illusorio di uno specchio che, incapace di riflettere, è rotto.

Le mostre personali di Pádraig Timoney includono: Mean While, Farbvision, Berlino, Germania, 2021, a Silver Key Can Open An Iron Lock Somewhere, Andrew Kreps Gallery, New York, NY 2019, Lulu, Città del Messico, 2018; There was a Study Done, Cleopatras, Brooklyn, 2017, a lu tiempo de…, a cura di Alessandro Rabbotini, Museo Madre, Napoli, 2014, Fontwell Helix Feely, Raven Row, Londra, 2013.



Indipendenza is proud to present waters of night, a solo exhibition by the artist Pádraig Timoney curated by Gérard Faggionato.

With about thirty works including mirrors and canvases, Timoney brings to Indipendenza a new nuance of his investigation into the construction of image. From room to room we slowly enter a shadowy and foggy atmosphere, almost Dantean, as if we were gliding through the tenebrous waters of the Acheron and scrutinizing the forms bathed in mist. From the interaction between each individual work, a system of multiple reflections is created in which both the observer and the space float in a dance of appearances and disappearances: sometimes real, when we look into the mirrors, other times merely suggested, when on the contrary our gaze rests on what Timoney calls «broken mirrors»: charcoal canvases in which he has recreated the illusory effect of a mirror that, being incapable of reflection, is broken.

In this exhibition, the reflection is the image sought and found in each work through different technical procedures. Here we happily rediscover a core element of the artist’s approach to creation: the search for a synthesis among the intended image, the material on which it takes shape and the process to create it.


“….abating their fear, the longing fear of peasant hands that never again might grasp the plough or scatter the seed and therefore had learned to grasp the intangible, the foreboding fear of hands to whose will-to-form, robbed of the earth, nothing remained but a life of their own in the incomprehensible universe, threatened and threatening, reaching so deeply into nothingness and so gripped by its perils that the dread foreboding, lifted to a certain extent above itself, was transmuted into a mighty endeavour, an endeavour to hold fast to the unity of human existence, to preserve the integrity of human desire in a way that would protect it from disintegrating into manifold existences, full of small desires and small in desire; for insufficient was the desire of hands, insufficient the desire of eyes, insufficient the desire of hearing, sufficient alone was the desire of heart and mind communing together, the yearning completion of the infinity within and without, beholding, hearkening, comprehending, breathing in the unity of the doubled breath, the unity of the universe; for by unity alone might one overcome the lowering hopeless blindness of fearful isolation, in unity alone occurred the twofold development from the roots of understanding… “

Hermann Broch, The Death Of Virgil, 1945


“…he saw the Circus and the amphitheater in a turmoil with the furious playing of organs; he saw the gladiators wrestling to death for beauty’s sake, the beasts set upon men; he saw the masses jubilant with lust, crowding about a cross on which, roaring and whimpering with pain, an insubordinate slave was being nailed—the intoxication of blood, the intoxication of death, and withal the intoxication of beauty—, and he saw more and more of these crosses, saw them multiplying, lapped by the torches, licked by the flames, the flames mounting from the crackling wood and from the uproar of the crowds, a flaming ocean that closed over the city of Rome and ebbed away, leaving nothing but blackened ruins, wrecked pediments, tumbled statues, and a land grown over by weeds. He saw, and he knew it would come to pass, because the true law of reality revenged itself irresistibly on mankind, and must so revenge itself, when, being greater than any manifestation of beauty, it was bartered for beauty—plainly affronted by this, despised by being overlooked: high above the law of beauty, high above the law of the artist, which was only greedy for corroboration, there was the law of reality, there was—divine wisdom of Plato—the Eros in the urge of existence, there was the law of the heart, and woe to a world that had forgotten this last reality.”

Hermann Broch, The Death Of Virgil, 1945


Pádraig Timoney (b. 1968,Derry, Ireland)

Lives and works in Berlin. At the core of Pádraig Timoney’s practice is an ongoing investigation into the ways images are constructed, or reconstructed, through painting. Resisting a singular style, Timoney’s works are instead united in approach; each painting aims to seamlessly connect a chosen image with both material and process. Often inventing new processes as a result, the works function as an index or record of decisions made, while reveling in the shortcomings in the medium itself. By including the errors of translation and the faultiness of recognition, abstraction and figuration never seem too far apart, often appearing on the verge of collapsing into one another. Through these divergent modes, his exhibitions in turn document a specific duration of time and research in the studio, rather than a traditional artistic thesis.


Indipendenza Roma – Waters Of Night – Pádraig Timoney

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