Acrylic on canvas

Each panel: 150 x 100 cms.

Signed and dated verso

Donated by the artist, Tullamore
To benefit: Heroes Aid, CRA No. 20206004

Straddling the boundaries of Realism, Surrealism and Expressionism, Devine has infused the portrait with a mysterious pulse that resonates beyond the canvas. Reading from left to right, Vicky Phelan’s narrative is conveyed as past, present and future acted out on Doonbeg beach in the west of Ireland. The left-hand panel is dominated by a powerful assemblage of flesh and bone whose forward motion is suddenly halted. The centre panel dominates. Here the sitter engages directly with the viewer. Events, both joyful and traumatic are rendered symbolically. Her outstretched right hand supports a bird, a young crimson rosella, representative of her daughter; on her left hand, her son as a sapling oak. Beneath her left foot, a colonnade represents a legal triumph while shamrocks close to her heart are emblematic of the continuous support she has received from the people of Ireland and beyond. Within her torso, invisible cancer is made visible. Her eyes are bright with strength and hope. In the right-hand panel a horse is looking backwards, a collage of powerfully charged symbols is placed between its hind legs and forelegs. A flickering candle reminds the viewer of the fragility of life itself. Indented into the sands beneath, Vicky Phelan’s footsteps leave the canvas.

Description by Vincent Devine and Philip Sheppard  

Meet the woman who inspired Vincent and Vicky's collaboration

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Acrylic on canvas

Each panel: 182 x 122 cms.

Signed and dated verso


This triptych tells the story of the life of Artemisia Gentileschi; an Italian Baroque painter from the 17th Century. The painting, heavily laden with symbolism also addresses themes around feminism, which it could be argued Artemisia was a pioneer. The left hand panel of the triptych deals with a traumatic event that befell Artemisia at the age of 18, a time when she was realising her supreme artistic talent. The central piece depicts both Artemisia's personal and professional life using symbolism. Her lungs are depicted large and strong to represent her using her voice to secure her reputation in Rome while her foot injects her into one of her most famous paintings, a harrowing scene not for the faint of heart. Eventually becoming one of Italy's most famous women painters of the time her legacy endures today, sometimes overshadowed by her male peers but not overshadowed in terms of talent. The third and final panel is influenced by ancient Egyptian celestial deities, depicting the Goddess Hathor. Hathor exemplifies the dichotomy that most women possess the power to both produce and destroy life simultaneously.

Enquiries to for interest.

In 2018 Vincent had a sellout show of the Irish debut of his new Manifesto work to one of Ireland's most prominent collectors. This new work is an in-depth exploration into the visual implications of the subconscious mind through various exercises and visual depictions. Vincent seeks to find answers to the subconscious undertones that have always informed his work yet eludes understanding on a conscious plane. His new work will be explored under the umbrella term "Neo-Dimensionism" and seeks to visually explain the inexplicable, paint the unpaintable.

The Masters Collection seeks to reimagine some of Art Histories greatest contributors in a 21st century context. I believe by analysing these masters we can gain much more understanding of the “why” these artists were ahead of their time and able to earn the title Master. The series in part seeks to prove that art is one of the only ways to communicate the world at large and in this series I use the masters as the vessel to deliver these ideas.

More Neo-Dimensionism Works

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