Here, while the bees are sleeping, 2015

Never Waking 2015, oil on canvas, various parts in wood and clay,
dimensions variable. (from a series of nature tables) Detail from Here, while the bees are sleeping, 2015


The deep shadows and foreboding skies of Sonia Shiel's moot nocturnal works for 'Here, while the bees are sleeping,' convey surreal encounters with natural phenomena in a hyper-luminous and multi-dimensional world. The installation compresses itself into a short poem/list on eternity, that choreographs the optimum chronology in which to view the work. Besieged by a suite of visual horror tropes, her domestic forms, nature and super-nature tables, and anthropomorphic furnishings take on metaphysical dimensions, coercing landscape back into the room on poetic cue.

The moon shines, 2015, oil on canvas. Detail from Here, while the bees are sleeping, 2015

Here, while the bees are sleeping
by Mary Cremin, independent curator and writer. Dublin, 2015

It would scarcely be paradoxical to say that a flash of lightning itself, travelling forever upon the circumference of this unutterable circle, would still, forever, be travelling in a straight line. That the path of our Sun in such an orbit would, to any human perception, deviate in the slightest degree from a straight line, even in a million of years, is a proposition not to be entertained:—yet we are required to believe that a curvature has become apparent during the brief period of our astronomical history—during a mere point—during the utter nothingness of two or three thousand years.

From Eureka, "An Essay on the Material and Spiritual Universe" by Edgar A. Poe, 1848, alternately sub-titled a prose poem.

Sonia Shiel’s highly imaginative modes of representational painting references the art historical lexicon of painting – early Flemish, romanticism, portraiture, surrealism and yet creates work that is distinctively her own style. The works are wilfully eccentric and play with the lines between truth and fiction. Her use of a multitude of characters creates a mélange of intimate fictions. They are drenched in narratives, creating singular vignettes that are often times humorous and absurd.

Edgar Allan Poe’s Eureka: An Essay on the Material and Spiritual Universe, a feat which was associated with dark romanticism, a sub genre of writing, was ultimately concerned with the fallibility of human nature, using imagery of anthropomorphised evil to illustrate mans inherent nature. Shiel's work is resonant with Poe’s language of terror in the apocryphal images that they conjure, along with the compression of her works' titles bending our navigation of the space into a short poem on a nocturnal nature. Within these fictions human truths can emerge, that when constructed into an artifice, have the allusion of being both vulnerable and monstrous.

Eternity List

Here, while the bees are sleeping
aquatics glow
birds flee
an egg bursts
the moon shines
blinds fall
colour changes
clouds break
burrows open
honey drips
all quiet
till one day
never rousing
never seen
never waking

Shiel’s paintings are often populated with animals and nature that serve as a poignant reminder of our fate and relationship with the elements. Being nocturnal, the certain sleep of a bee presents a respite to the fearful. The aquatic romance in the work 'aquatics glow' (2015), illuminates the octopi, offered as a lover’s gift. The luminosity and the play of light within the works add to their fantastical nature. Light conspires with ordinary things to create a kind of supernatural gleam in works such as clouds break (2015), where light emerges from the young girls palms, or in 'burrows open' (2015) where such illuminations highlight the centrality of colour and saturation to this body of work.

Each painting is a forced nocturne, from the blind folding of subject in 'colour changes' (2015) to the obtuse lunacy of 'the moon shines' (2015). Darkness looms through Shiel’s skilled combination of dramatic subject matter, theatrical lighting, expressive composition and masterful handling of paint. She delivers the plight of her subject through colour and brushstroke to raise the emotional key of her composition.

We are confronted by a dimension between the interior and the exterior, a pictorial device used to create a sense of alienation and anxiety. The combination of fantasy with the modern transforms the everyday. Shiel’s visual trickery includes bringing painting into sculptural form such as 'never rousing' (2015) and creates a hyper-real sensibility, where the border between fact and fiction is blurred.

This breaking-up of compositional rules creates work that is both raw and sensual. The exploration of the carnivalesque and supernatural takes us to Shiel’s underworld. It is reminiscent of the lines from Edgar Allan Poe’s poem The Raven – ‘Deep into that darkness peering, long I stood there wondering, fearing, doubting, dreaming dreams no mortals ever dared to dream before’.

Artforum CRITICS' PICKS, by Gemma Tipton, May 2015

Till one day, 2015, oil on canvas. Detail from Here, while the bees are sleeping, 2015