Megan Mulrooney is pleased to present Opposite of Hollow, an exhibition of new paintings by Ginny Casey. The exhibition will run through November 1, 2025.
In these latest works, Casey returns to the most fundamental elements of painting: form, color, and mood. Immersed within an enclosed architectural space her essentialized shapes like orbs, slabs, and coils coexist alongside subtle bodily suggestions. Meticulously arranged and stacked objects balance ever so precariously. Filling up the frame of each composition, their outsize scale recalls the dreamlike architectures and interiors of early paintings by Giorgio De Chirico.
Casey notes that in the past year she pared back the visual elements to evoke a sense of meditative soulfulness. Owing partly to a recent studio move where she has ceramicists for neighbors, she began refocusing on the vessel form as a central character. Within the subtle narratives of Casey’s painted worlds this form feels charged as though it holds something vital – a secret, interior life – that can only be physicalized through mood and tone.
The tension between the ordinary and the impossible also applies to her larger pictorial logic. Her constructions disobey the rules of gravity: they teeter, balance, and interlock in ways that sculpture could never quite replicate. Yet within this mysterious, psychological space, there lies a sense of inevitability and harmony. The eye moves through the composition like a miniature obstacle course, tracing pathways of scale and weight, thereby transforming the viewing process into a meditative act.
Beneath the quiet of these paintings runs an undercurrent of desire to locate stillness amid disappointment, tranquility amid chaos – to build a world that holds more than can initially be revealed. Opposite of Hollow speaks to the vessel as a universal form rising to the status of metaphor: for bodies, for memory, for spirit.
