Neo-Dimensionism
Now Accepting Commissions
Vincent is now accepting applications and proposals for specially commissioned paintings using his signature and renowned style of painting.
The paintings can use symbols and surrealism to represent a historical figure or loved one(s) living or passed. The possibilities and outcomes are wide and varied and can accommodate budgets from €2500 upwards.
Please email vincent@vincentdevine.com for enquiries.
Please click the pdf icon for full catalogue of works
Private viewings available by appointment. Please contact info@vincentdevine.com to book
"AT THE GATE"
A Triptych Portrait of Jack B. Yeats
Acrylic on canvas
Each panel: 182 x 122 cms.
Signed and dated verso
Jack B. Yeats is one of Ireland’s most celebrated painters. Jack documented life in rural and urban Ireland, from the worker in the field to the busy hustle and bustle of Dublin City life. His most poignant works document the aftermath and those left behind in the wake of the violence seen in Ireland’s fight for independence during and since English rule in Ireland. A non-violent and somewhat reserved man Jack B. Yeats is an elusive character. Devine’s triptych honours the work practice of Jack while also dealing with themes about Ireland’s History. Jack occupies the right panel, not centered to represent his private nature. His anatomy is heavily symbolic, the swan evocative of the myth of the Children of Lir. He never had children, his children being the paintings of the history and myths of Ireland. His wife Cottie is a beautiful rose suspended sans gravity in by his side. The white horse dominates this painting, its eye fixed on the viewer, in judgement. The white horse of Tir Na n-Og returns from the land of youth to the Irish landscape and questions the integrity of the spectator and their knowledge and protection of Irish heritage. Finally, under the shadow of Benbulben, said to be the place of favour for all the Yeats family, we see a skull as a monument to ancestry. No creed or colour, only the one thing that unites us, our commonality of physical form and life. The skull is emblematic of the loss and abuse of those lives under a regiment of oppression and violence. The blossoms however symbolise the Irish people’s ability to make beauty from this violence to prosper and grow here and through our huge diaspora internationally.
A PORTRAIT OF JOHN HUME
Acrylic on canvas
150 x 150 cms.
Signed and dated verso
SOLD
Charged with the passion, colour and energy he exuded when alive, the painting expresses the life of the incomparable John Hume. A powerhouse of the political world and recognised internationally as a man dedicated to bringing peace to a troubled Northern Ireland. Devine presents John Hume as a father, husband, politician and most importantly a human being concerned about our common interests. Hume is the only person to hold the Nobel Peace Prize, Martin Luther King Award and the International Gandhi Peace Prize. He also marks his work founding the Credit Unions around Ireland as one of his proudest achievements. An event that was to prove a seminal moment in the trajectory of Hume’s life was an encounter with the British forces where he was drenched in purple dye, commonly used to mark rioters. We see this throughout Humes body in the portrait, the scars from the event worn proudly in the name of peace. The honey bee perched on his shoulder symbolises his love of chocolate and honeycomb. On painting this portrait his wife Pat Hume sadly passed away, she enters the painting from the left to join her husband John in the afterlife, as they prepare to reunite, cross the bridge and board the boat waiting on the horizon.
TRIPTYCH PORTRAIT OF VICKY PHELAN
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.
VINCENT DEVINE (IRISH, b.1986)
TRIPTYCH PORTRAIT OF ARTEMISIA GENTILESCHI
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 vincent@vincentdevine.com 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.
EarlyNeo-Dimensionism Works
