Richard Meaghan’s paintings are an amalgamation of a number of differing experiences that revolve around memory, making use of allegorical and pictorial inventions and references from contemporary art and art history.
Meaghan’s narrations are not linear, but rather associative and analytical, so that the works function like short stories, in which the plot is compressed into a single image. However, the fragments have to be pieced together and thus can seemingly fall somewhere between dream and reality. The resulting paintings appear as visions of somewhere familiar yet strange, uncanny shimmerings based on careful study of our world that in turn suggests another.
“I am interested in the whole history of painting as a kind of dictionary of ideals that needs to be sought through as completely as possible, a need for all the infinite possibilities and characteristics of painting, from the silly to the sophisticated, to be simultaneously represented.”
On graduating, Meaghan was awarded a travel grant to study Renaissance Art in Italy. The resulting work was awarded first prize in the Sefton Open, followed shortly with his first solo Public exhibition at the Atkinson Art gallery, Southport.
Meaghan was recently chosen as one of three emerging artists to exhibit alongside Turner art Prize winners Chris Ofili and Keith Tyson in ‘Exposed- Art and Culture in England’s North West’.
Richard has exhibited widely both nationally and internationally and has future exhibitions planned for Liverpool, London, Copenhagen, Denmark, Berlin, Germany and Brussels, Belgium.
Recently Meaghan has concentrated on curatorial collaborations resulting in exhibitions that play with ideas of language, diversity and the 20th Century’s apparent conflict and antagonism between self reflection and the function of depiction. This has manifested itself, for example, in creating exhibitions which premise have ranged from the invention of a fictional character Mary Kapellmeister, feeding off certain traits existing within the pantheon of art history and romanticised notions of the anima, the hero and the outsider to a pact with the devil and our reflection on a passage in Goethe’s Faust, “In the beginning was the deed.”
Recently Meaghan’s work has revolved around ideas of globalisation and new technologies with research into related interests including film, geography, ecology, politics, religion, war, money and exploitation. The resulting new media work has developed alongside his normal concerns and ideas of painting and installation.