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McGinley has held the role of Artist In Residence in Prima Center (Berlin, Germany 2008), as well as the Victor Vasarely Foundation (Marseille/Provence, France 2013). He also has works in permanent collections worldwide, including Gallery Monteoliveto (Nice, France), the Irish Embassy (Athens, Greece), Galerie Campo & Campo (Antwerp, Belgium), the Irish State Art Collection, the Siena Art Institute (Italy), & Amsterdam Whitney Gallery (New York, USA). Collaborations include creating the artwork on several novels in Poland, photo journals in Serbia, as well as album cover designs in the Netherlands.


1999 ‘Intro’ - Brussels, Belgium

2003 ‘9th and Hennepin’ - Novi Sad, Serbia

2003 ‘De Keltische Tijger’ - Antwerp, Belgium

2005 'CCTV Blues' - Donegal, Ireland

2008 ‘Shadow Boxer’ - Berlin, Germany

2009 ‘PC 100-Best Of’ - Berlin, Germany

2010-2012 ‘80Q-Show Your Hope’ – Global Tour

2012 ‘Eurekastraat’ - Antwerp, Belgium

2013 ‘Hectic Eclectics’ - London, UK

2014 ‘Mirrorball' with sculptor Miodrag Peric - Antwerp, Belgium

2015 ‘ART 3F' Expo’ - Nice, France

2016 'Excess Baggage' with sculptor Miodrag Peric - Paris, France

2016 ‘London Calling’ - London, UK

2016 ‘Castle Galleries Summer Exhibition’ - Birmingham, UK

2016 ‘Future Landscapes’ part of the Architecture Biennale - Venice, Italy

2017 ‘Kicking Tyres & Lighting Fires’ - Nottingham, UK

2017 ‘Arte e Collezionismo’ - Florence, Italy

2017 ‘Catalystic Counterpoints’ - New York, USA

2018 'Surface to Air Part I' - Donegal, Ireland

2018 'Surface to Air part II' - Nottingham, UK

Artist Statement

Over the last number of years I have been examining how the linear structure of landscape painting can respond to both external and internal landscapes. In my most recent work, I have been moving away from this focus on deliberately rigid and regimented structures within my work and have begun to develop an approach to my work that seeks a dissolution of these boundaries, and which pursues a perspective of the eye on its surrounding environment.

Within this context, I have been exploring creating a panoramic perspective to my work, aiming to develop a concentrated, claustrophobic sensibility. This current approach aims to look more intently at the dialogue between humans and the persistent urban realism that envelops them. As each component is propelled to component, they begin to influence one another. Hard edges with concrete, architecture, man, and machine merge into blended essences. Constantly changing associations are inevitably released in these environments, and the observer is gradually pulled into the process of continuous transformation, in a melting pot of man, modernity, and dynamics.

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