Profile

Profile

Bridget Fahy Contemporary Artist

Born in Limerick, Ireland. I gained a Degree in Fine Art Painting from Limerick School of Art & Design
moving to Cyprus, where I now paint full time from my Studio in Tala, Pafos.

FREELANCE WRITER ORLA HILTON WRITES ON BRIDGET FAHY"S 'BEDOUIN SERIES'
- PUBLISHED ARTERI No.10 06/09

Bridget Fahy has an extraordinary way of transmitting an emotional quality and dynamic to her
paintings through gentle strength and stillness. Her paintings exercise the manipulation of paint and
physical mark making. Her use of combinations of surface marks with the experimention and creation
of new textures and the constant play between the elements of colour, line, shape and form have
become distinct characteristics of her work. Influences such as Matisse and Picasso are apparent.
These become noticeable on observing her Bedouin series. This particular group of paintings is
influenced by her travels to Egypt, where not only did she engage the history and culture, but also the
essence of the indigenous nomadic people. Like many travellers to this part of the world, Bridget great
Romantic poets, Coleridge, Yeats and Shelley, her work reflects on the nature of the individual's
transient internal life, within an intransient, and at times, hostile external mantle. Her 'Bedouin' is at
one with his narrative, history, environment and self. A singular inherent dignity is present in each
portrayal. The Bedouin's symbiotic relationship with his camel, becomes a visual ode to the fragility of
humanity and all its works. Particularly captivating is the notion of the mystery rider, travelling well
worn pathways in a dusky half light. This is clearly illustrated in the painting 'Night Watch'. Bridget
states that her painting 'Horizon East' is influenced by Rousseau's 'Sleeping Gypsy'."When I go into
the glass houses and I see the strange plants of exotic lands, it seems to me that I enter into a
dream." (Rousseau) This work has a particularly strength which is gradually realised in the quiet
presence of the woman on the camel. Her veiled face revealsjust one eye which surveys us. Yet, as
she is incompletely visible, partially recognised, glimpsing the world from behind a veil, we begin
to see that she is only viewing half of her own reality. Just as we cannot fully grasp her experiences,
the woman is herself only partially realized. The natural environment in Bridget's paintings is beautiful,
is instinctive. There is a sense that these riders have travelled through time, perceiving their world in
the same sense that thousands of their forefathers did. The visual dichotomy of the figures leads the
viewer to question whether they are meeting or parting..... the past meeting the future. Bridget Fahy's
Bedouin series also contains some works in oils and ink drawings. A particularly compelling piece is the
ink drawing 'The Light of Night'. Contrasting forms and shadows merge with each other, night and day
collide, and the Bedouin becomes a giant in the camouflage of his own land. Yet he is also unnoticed,
invisible unseen figure perhaps disregarded, yet solemnly impressive in his own dignity. In
'Sentimental Journey' the viewer discerns a shift in thesensation of Bridget Fahy's work. There is a
highly emotive quality to this painting. The Bedouin agitates , and suddenly, instantly, we see
that he is no longer controlled or controlling. His journey is directing him and whether his destination
will reveal motives that are triumphant or poignant becomes the observer's dilemma.