BIO
In 2019 McIntosh had a near death experience and whilst recovering from the life impacting surgeries, lockdown hit and forced isolation. In 2021, wishing to see the lessons in the new normal, he pressed pause on participating in exhibitions and art fairs to concentrate on getting well and working with clients on more intimate commissions, where connections are central to the success and mutual enjoyment of creating beautiful work. Having taken a sabbatical to concentrate on healing, he emerges now in a world still recovering from a shared trauma. McIntosh finds his personal experience a great strength to share with others and when making new work, amidst the noise and ugly of the covid aftermath, he wishes to create work that is quiet, reflective, optimistic, and affirming.
McIntosh works from his purpose-built studio next to his home, a converted barn, set in four acres amid an AONB on the Kent North Downs. Having his studio outside of London was a choice he made 20 years ago after leaving academia and returning to making art full-time. His work is in international private, corporate and hospitality collections.
Rod McIntosh b. 1968, Singapore. Graduated Sheffield Hallam University1992. Rod has participated in International Art Fairs; SCOPE Art Fairs Miami (2019), The London Art Fair (2018, 2019), Affordable Art Fair New York (2018), AAF Brussels (2016-2018), The Other Art Fair Brooklyn (2018), The Accessible Art Fair, Bozar Brussels (2016-2018). Alongside participating in selected group and solo exhibitions.
STATEMENT
Process is central within the painting practice of Rod McIntosh. His mark making has a fluidity and honesty that reveals itself through a muted pallet of monotones. This lends the work a striking and minimal appearance, which coalesces with the quiet sensitivity to his materials, time invested and action.
With his body, the breath along with materials, and repetitive often-obsessive processes, focuses an attention to the present. Observing and recording the moment of creation within a continuum.
He speaks of them as;
“Physical meditations, that offers himself and the viewer a moment to pause.”
Through rehearsal, the mark-making is an embodiment of a gestural flow with the breath that is choreographed and then privately performed.
For McIntosh the provenances and particular characteristics of each material are of great importance. Following closely traditional eastern recipes for archival inks and pastes he works upon delicate Chinese papers that absorb every fluid movement as he accepts the brevity of a final committed stroke.
Presence and concentration are key to his practice in cultivating a meditative quality. Examining his temporal gestures, alongside ideas of mindfulness, permanence, attachment and acceptance.
