Genieve Figgis

  • The Happy Accidents of the Swing (after Fragonard), 2018
    Acrylic on canvas
    120 x 100 x 4 cm
    47 1/4 x 39 3/8 x 1 5/8 inches
  • Hercules and omphale (after Boucher), 2018
    Acrylic on canvas
    70 x 60 x 4 cm
    27 1/2 x 23 5/8 x 1 5/8 inches
  • Jupiter and Calisto (Boucher), 2018
    Acrylic on canvas
    80 x 60 x 4 cm
    31 1/2 x 23 5/8 x 1 5/8 inches
  • The toilet of Venus (after Boucher), 2018
    Acrylic on canvas
    50 x 40 x 4 cm
    19 5/8 x 15 3/4 x 1 5/8 inches
  • Lucifer and me (after Bouguereau), 2018
    Acrylic on canvas
    80 x 60 x 4 cm
    31 1/2 x 23 5/8 x 1 5/8 inches
  • Erato the muse of love poetry (after Boucher), 2018
    Acrylic on panel
    50 x 40 cm
    19 5/8 x 15 3/4 x 1 5/8 inches
  • The confession of love (after Fragonard), 2018
    Acrylic on canvas
    120 x 100 x 4 cm
    47 1/4 x 39 3/8 x 1 5/8 inches
  • Pink landscape, 2018
    Acrylic on canvas
    200 x 100 x 4 cm
    78 3/4 x 39 3/8 x 1 5/8 inches
  • Wish you were here, 2018
    Acrylic on canvas
    100 x 100 x 4 cm
    39 3/8 x 39 3/8 x 1 5/8 inches
  • Nude, 2018
    Acrylic on canvas
    120 x 120 x 4 cm
    47 1/4 x 47 1/4 x 1 5/8 inches
  • Stage, 2018
    Acrylic on canvas
    120 x 120 x 4 cm
    47 1/4 x 47 1/4 x 1 5/8 inches
  • 17th century Entourage, 2018
    Acrylic on canvas
    120 x 150 x 4 cm
    47 1/4 x 59 x 1 5/8 inches
  • Velvet curtains, 2018
    Acrylic on canvas
    80 x 100 x 4 cm
    31 1/2 x 39 3/8 x 1 5/8 inches
  • Knock knock, 2018
    Acrylic on canvas
    80 x 60 x 4 cm
    31 1/2 x 23 5/8 x 1 5/8 inches
  • Floating, 2018
    Acrylic on canvas
    60 x 80 x 4 cm
    23 5/8 x 31 1/2 x 1 5/8 inches
  • Portal, 2018
    Acrylic on canvas
    150 x 150 x 4 cm
    59 x 59 x 1 5/8 inches

Genieve Figgis’ paintings share a similar dramatic bent as some Irish-English literature subjects from Edgar Allan Poe to Oscar Wilde, as well as acknowledged Old Masters such as Goya. Working in oil and acrylic and at small- to mid-scale, Genieve Figgis produces paintings rich in color, texture, humor, and the macabre. Through her work, she explores and sends-up the idealization of luxury and leisure in paintings and photographs throughout art history. Like these historical works, her paintings feature sumptuous domestic interiors and stately country homes, idyllic natural settings, and protagonists dressed in finery and engaged in such activities as feasting, horseback riding, playing piano, or attending a party. Figgis’s body of work also includes her take on the tradition of portraiture and the odalisque. In her compositions, however, all is not well. Her figures appear either faceless or as foolishly grinning, ghoul-like creatures, whose loosely rendered forms seem vulnerable and insubstantial as they merge with their lushly painted, semi-abstract surroundings.


Exhibitions


Museum Exhibitions


Selected press