Conor Harrington
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Art

13 Nov new film – OLD NORSE

 

I was invited to the far reaches of Norway during the summer and I took the opportunity to make my 3rd film with film-maker supremo Andrew Telling. I think this is by far our best film. Pared back and super minimal he really captured the atmosphere of one of the most Northerly and isolated parts of Europe. This is one for the headphones, the music is composed and performed by both Andrew and Lucinda Chua. Watch the film for the music alone, I guarentee it’s worth it.

Big thanks to Pøbel for inviting me to Komafest and also to everyone from Vardø who welcomed us with grace and warmth.

 

 

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19 Jun I Want Helicopters!

 

 

I did my second large scale photo shoot 2 days before I went to Italy. This is the most stressed you’ll ever see me, when I actually have to organize things. I’m doing a number of large paintings for October and this shoot was for source imagery. Many thanks to the models and of course Eoghan MacGyver Brennan for saving the day and Charles Lurking-in-the-Shadows Gervais for these sexy shots. Special shout out to Bambi.

 

 

 

 

 

 

 

 

 

 

 

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16 Oct Death in the Afternoon @ The Minotaur

Here’s my piece from The Minotaur show, currently running in the Old Vic Tunnels. I was given the brief about a year ago so I was pretty excited about all the possibilities that the Minotaur could bring given my work’s ongoing interest in masculinity, power and ego and all that blah blah blah..

This year I’ve started doing a series of shoots with photographer Eoghan Brennan to use as source material and for this painting I took Ramey’s 1826 sculpture of Thesseus slaying the minotaur as a starting point. I recreated it, replacing Thesseus with Jatinder (an Indian/English mate of mine) and I dressed him up as a matador.

I listen to the news a lot in the studio, and one of the main stories in the last few months as I’ve been thinking about this piece has been the instability in the global markets (I never really understand any of this) and in particular the fragility of the euro. My own country has had no small part to play in the euro’s woes  but for the purpose of this painting I liked the symbolism of the Minotaur, that great charachter of Greek and European mythology on his back about to be slayed by the rising Asian economies.

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