This new year sees the National Gallery already changing things up, with the annual William Turner watercolours accompanied by contemporary work. Niall Naessen, a Kerry-based artist, has been commissioned to do series of prints inspired by the Turner collection, which are to be exhibited together.
Naessen has made a series of etchings and prints, which draw from and complement the delicate attention of Turner’s watercolours, in their beautiful depiction of seascapes and meteorological effects. Instantly striking are the vibrant burning twilights both artists have stunningly captured again and again. Likewise, Naessen has continued the tradition, pioneered by Turner, of depicting the forces and majesty of nature, her fierce winds and sheer scale so subtly apparent by the simple position of miniscule figures, clearly in awe – much like many of the exhibition visitors themselves.
I would be intimidated by the thought of having to show alongside or, as feared, in the shadow of such a master as William Turner. But Naessen, a graduate of the National College of Art and Design (NCAD), stands his ground, as well as proving his own mastery of print techniques. Even if much is shared or passed down by Turner to Naessen, the younger artist flourishes independently. In fact, he adds a lot to the landscape genre that is new and revitalizing. He is both contemplative and experimental in his approach, even playful at times.
In one print, the artist struts, deep in thought, across the paper. In another, his hat is soaring on a gust of wind against a dark and stormy sea. There is a balance and solid visual quality clearly inspired by Eastern block printing, but also by contemporary trends in illustration and graphic design. This is not an artist trying to recreate a classic – Naessen is inspired to seek out new ground, just as Turner was. Personal favourites of this author included the motifs of origami shapes in water. One features paper hats floating at the edge of a lake, surprising the viewer in their durability against the elements and creating a striking balance between the mundane and the sublime.
Even if you’ve explored the Turner collection before, and perhaps felt unimpressed by the few vivid pieces amidst a range of unfinished sketches and misted abstractions, I assure you that Good Morning Mister Turner will offer a solid and refreshing contrast. The show provides a promising outlook for changes in the year ahead, as well as for contemporary Irish art.
The 31 Turner watercolours were a donation of Henry Vaughan, 114 years ago. The collection is exhibited every year, but only for the month of January when natural light is weakest, due to the sensitivity of the paintings to light. Of course, modern conservation techniques make this provision unnecessary, yet the tradition is honoured. Admission to see these great works is free – don’t miss out.
