Caitlyn Rooke B. 1988, USA
Based in Galway, Ireland

Contact@CaitlynRooke.com
+353 (0)85.163.8260

2019
Royal Society of Portrait Painters Annual, Mall Galleries, London, UK
189th Annual Exhibition, RHA, Dublin, Ireland 
Boyle Arts Festival, Main Exhibition, Boyle, Ireland 
2018
Hang Tough Gallery Grand Opening, Dublin, Ireland
Royal Society of Portrait Painters Annual Exhibition, Mall Galleries, London, UK
2016
186th Annual Exhibition, RHA, Dublin, Ireland
Into The Forest Deep, Kildare Gallery, Maynooth, Ireland
2015
Gallery Launch, Kildare Gallery, Maynooth, Ireland
SCOOP Art Exhibition & Auction, Third Space, Dublin, Ireland
Hungarian Culture Festival, Smock Alley Theater, Dublin, Ireland
2014
Launch Show, Lamplight Gallery, Thomas, West Virginia, USA
184th Annual Exhibition, RHA, Dublin, Ireland
Block T Members Showcase, Block T, Dublin, Ireland
2012
Associated Artists of Pittsburgh’s First Night, Pittsburgh Cultural Trust, Pittsburgh, Pa
2011
Steel City Artist Collective’s Something from Nothing, Hot Metal Bridge, Pittsburgh, Pa
2010
BFA Exhibition, Kipp Gallery, Indiana, Pa
Undergraduate Scholars Forum Exhibition, Kipp Gallery, Indiana, Pa
2009
Undergraduate Scholars Forum Exhibition, Kipp Gallery, Indiana, Pa  
2007
2×2, Tribeca Arts Project, New York, NY
Emerging Visions, YorkArts Gallery, York, Pa

EDUCATION
2019 
International Center for the Study of Painting, Orvieto, Italy
2018 
Donald Jurney, Plein Air workshop, Ireland
2017
Conor Walton Summer School, Figure Painting, Ireland
2013
The Drawing Studio – Bargue’s Cour de Dessin and Ecorche, Ireland
2010 BFA summa cum laude, Indiana University of Pennsylvania, Indiana, Pennsylvania, USA


On Painting

I find an ancient appeal in the way that space relates to time within figurative art. Time being the context in which it is painted; the work being an indelible mark of a life, the one and only available to us. And when we search these created marks for the malleable history within, we may resurface with an ancient humanity, a humanity which understood everything because it could not imagine all that we still do not know. This bygone humanity lives again when we feed it our imagination and as we live its consequences and create new ones.

And space being the visual patterns and forms within a work of art. These distances collapse and expand as they illuminate and carry us out of the moment, when our minds are not awake to the passing of time, but only to the work of art. In this state of forgetfulness we may even catch a glimpse of our own shifting perspective and the distance it reveals between us, the artist, and each other. In this improvisation of time and space between humans, we have the capacity to be aware of the inner richness within each other and ourselves.

When we perceive work this way, there are many endings in sight, our own, that of the artist, that of the object itself, and many others besides. The space and time we take up is tethered to the idea of ending. Our view of endings (and beginnings too) changes how we see ourselves, each other, objects, the planet. Transient choices matter because they are all that we have and they will ripple with the consequences of a finite action.

As I paint, each brush stroke, like the falling down of a domino, settles within the context of what is beneath and above it, the layers of paint, the air that falls between it and me, all of the paintings made before it, with it, and after it.