Patrick Hall was born in County Tipperary, Ireland, in 1935, and attended London’s Chelsea School of Art and later Central Saint Martins School of Art, where he was taught by the influential British artist Cecil Collins. In 1966, Hall moved to Spain, returning to live in Dublin in 1974. He has exhibited widely both in Ireland and internationally since the 1980s, and his work (like that of his friend Patrick Graham) has been hugely influential on generations of younger Irish artists.
“A drawing or a painting is a magnetic field of energy, it is waiting, poised, alert and breathing. A flower, a cloud. I float in a silent space: studio, garden, kitchen, waiting, marking the flow of energy. That’s all it is. There is nothing finished about my work, it’s just a step on the way. I like the quiet of my studio, its isolation. There I am at once together and alone, at home, my world. The table with drawing things on paper, a canvas on the wall which I observe all the time and touch with the brush occasionally, the painting table with its paints and brushes waiting, always ready.”
Hall’s work forms part of many significant private, institutional and public collections, including the Irish Museum of Modern Art (IMMA), Dublin City Gallery The Hugh Lane, Arts Council of Ireland, Arts Council of Northern Ireland and Trinity College, Dublin. He was appointed a member of Aosdána in 1982 and currently lives and works in Sligo.
“Painting is always a form of communication. We’re not painting in a vacuum. We’re painting because we’re a member of the human race and this is our deepest way of communication and of receiving response. It’s deeper than any other; it’s deeper than sex; it’s deeper than speaking; it’s deeper than thought, because it is beyond thought. It is actually physical, and it’s the physicality of the painting which connects me to other people, not just the painting, but its being. It’s a mutual acknowledgement of our common physicality and fate. but the viewer is a kind of limited word in painting, because a painting views the viewer as much as the viewer views the painting.” (Patrick Hall from an interview with Hans Ulrich Obrist)