Kathy Tynan’s eye for idiosyncrasies and her ability to distil an essence from daily encounters lends her paintings a profundity that is interspersed with self-reflexive humour. Each painting captures a moment in which a feeling or mood prevails. In the making of these paintings, Tynan proffers a world in which chance encounters and oddities are elevated through their representation. In recent work, Tynan has referenced her painting practice as part of a routine and within Laughter in the Blood, the artists own studio becomes the focus of analysis. In this painting the artist’s supplies – turpentine, brushes and ink are laid out on a frugal looking table. A bundle of brushes with split hairs peak tentatively over a laptop. On the monitor a talking head, subtitled in French, speaks of introspection in a spell of melancholy shoegazing. To the right of the table, near the skirting board, a scrunched leaf of paper torn from a ring-bound notebook politely beseeches the studio occupants, ‘please don’t unplug’.

In Clarice Lispector’s mystical novel, The passion according to G.H, the protagonist becomes preoccupied with the interior of her own apartment and remains there for the duration of the story. In her rigorous questioning of every aspect of her immediate reality she begins to dissolve its solid materiality into an array of psychical absurdities. While much of Tynan’s paintings follow a similar tact of dissecting the seemingly mundane, she also references the Brazilian writer directly in her painting, Thick and Black Roots of the Stars, in which Lispector’s words appear scrawled across a wall. In the painting, grey skies loom over a church and its grounds but the focal point is the richly embellished wall. Across its cement surface, alongside Lispector’s lines, there are messages to missing family members, initials in bubble font, proclamations of eternal love and witty quips. On this graffitied wall, marks made by many different hands are presented together in the composition.

Such a device harks toward the latent impulse within people to make a mark, to give visual expression to a thought. This concept crops up time and again in Tynan’s paintings, posing questions on the nature of institutionalised art production and on the divide between various forms of artistic expression. In her paintings, which revel in the colour, texture and surface possibilities of paint, Tynan reflects on inconsistency and imbalance. Her paintings are often witty and playful but also inquisitive – imbued with their own revelatory purpose. Together the paintings in Atonal Supersound converse with and often contradict one another. They exist as counter points reaffirming the idea that meaning is both deduced and created. It is somewhere between these two activities that Tynan’s work gathers its momentum.

Kathy Tynan (b.1984) lives and works in Dublin. She graduated from the National College of Art and Design (NCAD) with a BA in Painting in 2008 and an MA also from NCAD (2010). Recent group exhibitions include Hands Laid On with Aileen Murphy, Kevin Kavanagh, Dublin (2016), There Are Little Kingdoms (2016), Mermaid Arts Centre, Bray, What Is And What Might Be, Highlanes Gallery, Drogheda (2015) and The Sky Is All Changed, Hendrons Collider, Dublin (2014). Tynan’s work is held in public collections including the Office of Public Works as well as private collections in Ireland and abroad.