Chanelle Walshe’s paintings reflect her interest in organs, flesh, soil, divine intelligence and the healing process. She looks at the human body and the Earth. She has worked from pelvic bones, ribcages, hearts and lungs. Her research takes place at universities and medical museums. Currently her work in progress is focused on the human brain.
Walshe’s paintings give room for speculation as the forms correlate between presence and absence, aliveness and decay. She sees the inner workings of land and body as an interconnected universe, much of which remains intangible. Regular observation of preserved specimens, isolated, in jars or on trays has affected her compositions. Walshe re-activates their aliveness by embedding these forms in rich nourishing grounds (soil, flesh) or boxes. They are offered up like a gift or a sacrifice
Drawing upon a mix of influences such as abstract expressionism, bog-bodies and the aesthetics of museum display, her works harbour traditional categorizations of life and death and formal renderings of objects, yet they have a contemporary sensibility. Her paintings are both unsettling and compelling.
Chanelle Walshe graduated from The National College of Art and Design, Dublin, Ireland in 2010. Recent exhibitions include Beatland, Pallas Projects, Dublin 2017 (solo), Nerve and Sinew, Custom House Gallery, Westport 2017 (2 person), A Knowing Nature, The Dock, Carrick-on-Shannon 2016, Panorama, curated by Kathy Tynan and Chanelle Walshe, Pallas Projects, Dublin, 2015 and Not Life Necessarily, NCAD Gallery, Dublin, 2014 (2 person). Walshe is a recipient of The Thomas Dammann Award 2015 and completed a studio residency at The Royal Hibernian Academy, Dublin in 2015. She is currently taking the correspondence course with Turps Banana Art School, London.
Walshe lives and works in Ireland.