https://www.kristinahuxley.art/projects daily 1.0 2025-11-24 https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1562784743128-3687VOP6DO0MXUM85LAO/image-asset.jpeg Paintings - Another Visibility Series https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1564656726919-RG7YEXEX2TP400DGPSMN/IMG_8338.JPG Paintings - Another Visibility: Lacuna's Echo | 2019 acrylic, alkyd resin, polymer, pigments on canvas 150cm x 190cm Installed in Rathfarnham Castle, Dublin https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1654178769639-VZHO2YKAOH3KQY7VQ219/image-asset.jpeg Paintings - Fear Index Series https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762526083584-M48AYE68B3NEPBD5XH3S/IMG_3515.jpg Paintings - Sensitive Paintings | 2023 The Sensitive Paintings are in a permanent and constant state of transformation and change, self-erasure and renewal. They speak to paintings history and ideas of risk, invisibility, impossibility and time. They activate the gallery with anticipation and adventure, instigating dialogue between phenomenology and ontology, perception and memory, the visual and physical and the sensing of contemporary temporal and atemporal worlds. Image credit: Mark St. John Ellis | NAG Gallery. https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1763036015683-3NUEO5NOSTERAZ4Z26RS/Press+release+image.jpg Paintings - Sensitive Painting | pre 2000 The first Sensitive Paintings were produced in 1998, in a small cottage in the centre of Ireland and exhibited shortly after in The Butler Gallery, Kilkenny Ireland and The Douglas Hyde Gallery, Dublin. During the 90’s, Huxley’s work, such as ‘mushroom series’, ‘orange series’ and ‘ condensation series’, used ephemeral and organic materials turning invisible processes into visible matter; functioning as indexes and catalogues of process and change they did not last. Condensation, heat, moisture and other unstable materials were utilised to present continuously evolving processes and constant transience creating dialogue with time, about time and the present. These temporal works functioned as observatory, framing and enhancing our perception of the phenomenon of change, time and the mysteriousness of the world around us. Painting here enables a visual field where visibility and invisibility are inseparable, made permanent. Paintings have the ability to change their surroundings; holding sentience somehow. Negating the limitations of the still image in painting, the first Sensitive Paintings were produced in the flow of the boom economy; the work ran counter to the culture of capitalism and excess, sensitive to the challenged and changing landscape and natural ecologies escaping mainstream attention. The observer effect is a proven theory showing that mere observation of a phenomenon can change that phenomenon: The Sensitive Paintings set out to attract vision and to ask what happens next. Collaborating with agencies and technological specialists outside of creative practice, paintings were developed to incorporate industrial heat sensitive technology into painterly language. The ‘Sensitive Paintings’ contain hidden heating systems, beneath their surfaces, controlled by electrical timers. With warmth, the minimal surfaces change in colour through a cyclical 15-30 minute period, barely perceptible at first, transforming from one colour to another, then to bare or primed canvas, then returning to their original colour upon cooling. The paintings empty themselves inside out so to speak: painting is existent within the limits of non-existence. Multiple images are produced of which the outcomes are indeterminate, affected by the environment in which they are located. The Sensitive Paintings are in a permanent and constant state of transformation and change, self-erasure and renewal. They speak to paintings history and ideas of risk, invisibility, impossibility and time. They activate the gallery with anticipation and adventure, instigating dialogue between phenomenology and ontology, perception and memory, the visual and physical and the sensing of contemporary temporal and atemporal worlds. https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762865130337-IQC3H55B8GDPX4Y1CXZT/image-asset.jpg Paintings https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762526083584-M48AYE68B3NEPBD5XH3S/IMG_3515.jpg Paintings https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1540476427200-6QSO6DFJKCOJ4IPC3TVJ/DSC02025+copy.JPG Paintings - Sensitive Painting II | 2014 The Sensitive Paintings are a series of site sensitive works that explore perception, indeterminacy, states of change and flux as constants; they work with time, are sensitive to the audience and the space in which they are situated. Within their slowness, they hold the nowness of our contemporary time: containing traces of the realities and narratives from within our turning, unstable and volatile world. Attracting observation, the Sensitive Paintings call into question vision itself and are also situated with paintings discourses with technology. The first Sensitive Paintings were produced in 1998, in a small cottage in the centre of Ireland and exhibited shortly after in The Butler Gallery, Kilkenny Ireland and The Douglas Hyde Gallery, Dublin. In the flow of the boom economy, the work ran counter to the culture of capitalism and excess, sensitive to the challenged and changing landscape and natural ecologies. The observer effect is a proven theory showing that mere observation of a phenomenon can change that phenomenon: The Sensitive Paintings set out to attract vision and to ask what happens next. Collaborating with agencies and technological specialists outside of creative practice, paintings were developed to incorporate industrial heat sensitive technology into painterly language. The ‘Sensitive Paintings’ contain hidden heating systems, beneath their surfaces, controlled by electrical timers. With warmth, the minimal surfaces change in colour through a cyclical 15-30 minute period, barely perceptible at first, transforming from one colour to another, then to bare or primed canvas, then returning to their original colour upon cooling. The paintings empty themselves inside out so to speak: painting is existent within the limits of non-existence. Multiple images are produced of which the outcomes are indeterminate, affected by the environment in which they are located. The Sensitive Paintings are in a permanent and constant state of transformation and change, self-erasure and renewal. They speak to paintings history and ideas of risk, invisibility, impossibility and time. They activate the gallery with anticipation and adventure, instigating dialogue between phenomenology and ontology, perception and memory, the visual and physical and the sensing of contemporary temporal and atemporal worlds. https://www.kristinahuxley.art/projects-research daily 0.75 2025-11-28 https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1540587035197-SQWGVMA1CRKEKW2KOAUP/IMG_2944.jpg Projects | Research - Dustopia | 2018 Indeterminate Painting I | Testing ambivalent form Indeterminate paintings with painting detritus, from 'Stateless', to test ambivalent form 37.5cm x 28.5cm x 8cm archival box, acrylic paint, mixed media https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1565936822364-Z1Y3033FFEH62NZ4FOOU/Dustopia+final.jpg Projects | Research - Dustopia Dustopia is an ongoing research and archival orientated project, begun in 2012, that registers Huxley’s encounters with dust. Dust is collected from places and contexts that either are undergoing, or have a history with, a state of change, transition, transformation or conflict. The archival boxes are a visual taxonomy for this material research, forming a central reference point for her painting practice. They exist as a utopian space for the world of dust, but they also present as another space to test and curate dust’s potential. https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1611593619924-060W74JRIEGOCXXL35S1/image-asset.jpeg Projects | Research - Dustopia Dustopia is an ongoing research and archival orientated project, begun in 2012, that registers Huxley’s encounters with dust. Dust is collected from places and contexts that either are undergoing, or have a history with, a state of change, transition, transformation or conflict. 2020 has been challenging globally in unprecedented ways across political, environmental and individual spheres for us all. Storm Clouds of The Twenty First Century has emerged to cast an observer effect upon the emergent destabilising dichotomies of this current time. Unstable skies and weather systems, the fear index of political gaming, curious moments of derogation to moments of domestic cleaning, Dustopia | 2020 archives a visual taxonomy for this material research into realms of instability forming a central reference point for the current painting practice. Existing as a utopian space for the world of dust, they also present as another space to test and curate dust’s potential. https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762860417403-V8H47U78DJ9NVNHV5MR6/IMG_3417.jpg Projects | Research - Dustopia | 2023 onwards Dustopia is an ongoing research and archival orientated project, begun in 2012, that registers encounters with dust. Dust is collected from places and contexts that either are undergoing, or have a history with a state of change, transition, transformation or conflict. https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762792660799-5NZWVXIXA1GCV7ZBIB0O/IMG_6436.JPG Projects | Research - Dustopia | 2022 Dustopia is an ongoing research and archival orientated project, begun in 2012, that registers encounters with dust. Dust is collected from places and contexts that either are undergoing, or have a history with a state of change, transition, transformation or conflict. https://www.kristinahuxley.art/studio daily 0.75 2025-11-20 https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762873319942-MBGAZJA0CRJ29NG29FSS/IMG_5777.jpg Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762873319942-MBGAZJA0CRJ29NG29FSS/IMG_5777.jpg Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762873927886-VOQ2QEUWDUP4FJ8NFNS7/IMG_1405.JPG Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762872577759-0O4Y267PJ9PPD0MFN6FM/IMG_0981.JPG Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1540482880798-DD351B3OEJAP4KFWN794/IMG_6109.JPG Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1540476199098-90E2TCU4RC9Q9S024R6K/IMG_2748+copy.JPG Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762872965256-O8CSAMQ7BJ8LSL5M17SM/IMG_5235.JPG Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762873705087-ZZI67T6B5Z9W6LOW6MNJ/IMG_5172.JPG Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762872321521-PV412RY131KGDP21OWAU/IMG_7766.JPG Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1540501861493-Y3OPM6F1YXYL49VSWV8O/IMG_5831.jpg Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1540501980809-EKNV8UKE2YPKQ5Z2ALL9/IMG_5659.jpg Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1540563068196-8T3186TSZLAJ0627WNPA/IMG_3811.JPG Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1540562270516-8D17MSP6L9Z3XGHM7RD0/IMG_3736.JPG Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1541837333579-TL05FZDU8YKLX02YR4XY/IMG_4136.jpg Studio - paintings instead of a phone call | 2016 https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1497218297339-JW5E49X5V9CIBKR01RUJ/IMG_2330.JPG Studio Henrietta Street studio, 2013 https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1541759100647-BI7QAR6Q44EVRN1BZRXP/IMG_8434.JPG Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1541759520421-EB0BKAE11NU6WB1N7LL5/IMG_3564.jpg Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1541785129328-0ZAT3W89I4TPXDUKZRL0/IMG_3880.JPG Studio https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1540501706689-DLVAR4DRKUQ18EFQ1NJ5/IMG_5038.jpg Studio https://www.kristinahuxley.art/works-on-paper daily 0.75 2025-11-24 https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1565876249183-PDW3UFPG8N2IT01R9NIS/IMG_7939.jpg Works on paper https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1541799973054-7REOG4WU50Y879GEQ3V8/IMG_7486.JPG Works on paper - Where the stress falls | 2017 30 x 30 x 30 cm copper foil and acrylic on paper https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762877033843-K7YBXATCYV0UVTS40ZFU/IMG_0547.JPG Works on paper - Situation Series | 2021 Situation Series | 2021 Compressed charcoal and linseed oil on cotton fabriano. 140 × 70 cm unfurled. https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1762879749159-PGEZH0E3NIWHI8H7JHDX/image-asset.jpeg Works on paper - Navigator Series | 2022 Navigator Series | No.1 Charcoal and graphite drawings on assorted papers. Dimensions variable: 42cm × 41cm. Full extension: 100cm x 42cm. Drawings can be assembled in multiple ways. https://www.kristinahuxley.art/about-1 daily 0.75 2025-11-20 https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1498234275192-EUFDU7LLNTFQVFTNFIRW/Huxley+1.JPG About https://www.kristinahuxley.art/contact daily 0.75 2025-11-20 https://images.squarespace-cdn.com/content/v1/59233a13414fb537908fa9b8/1540500671999-YVV5N3L3POZIFWTE1G8U/Studio+door.jpg Contact https://www.kristinahuxley.art/privacy-policy daily 0.75 2019-09-29