Hughie O’Donoghue (Manchester, 1953), ‘N°50 Cologne 4 Hours 40 Minutes 30.10.44 (Red Letter Days)’, 2008.
The painter incorporates old photographs in his canvasses (one can discern a vertical plane in the foreground here).
The title alludes to the bomb-throwers during the second world-war.
In his essay on the page, the gallerist James Hyman links the use of photographs by painters (Bacon,Warhol…) to fidelity to reality and thus enhanced emotional impact.
But, he says, digital manipulations brought in scepticism: “O’Donoghue’s challenge is to cut through such cynicism, to acknowledge that picture-making, like memory, is a construct – but to assert that nevertheless it retains the potential to strip away the veils, to address big themes and to speak to us all.”