“Ginny Casey’s new paintings feature decrepit interiors full of objects like chisels, woodcutters, pulleys and in-process sculptures. In Casey’s theatre of the absurd, these objects are distorted, engorged and disproportioned where the restrictions of logic and time are abandoned to the surreal.
For Casey, the concept of space is subjective, each painting challenges the notion of linear space as a way to provoke preconceived perceptions. Multiple trap doors, staircases that lead to nowhere, and ladders that extend to windows into the abyss all contribute to a spatial disorientation.
The paintings encourage open interpretation. For Casey, “It’s like trying to see in the dark… it’s all intuitive.” Starting from drawings of individual objects, Casey redraws and collages these together, building relationships, narratives, and tension into what becomes the finished composition. Her paintings do not begin with preconceived notions of a finished product; rather, a story develops, emerging from her subconscious. Casey draws upon psychoanalysis, free-association, dreams and the unconscious to make her paintings.
Casey, a new mother, has found imagery that evokes fertility and motherhood recurring in her work. Vessels of varying shapes and use recur often. In Stunted Developments one such vessel is stuck in a wooden table, half birthed, a cracked egg rests in a spoon atop an adjacent table, while a blue vessel and sculpting materials are additional actors in this drama. Allusions to motherhood are omnipresent.”