Photograph of painting installation, including circular painting on the gallery wall and a group of painted sculptural objects. The artist refers to these as ‘gestures’, or brush-marks, painted on plaster.

Photograph of painting installation, including circular painting on the gallery wall and a group of painted sculptural objects. The artist refers to these as ‘gestures’, or brush-marks, painted on plaster.

A group of painted sculptural objects are mounted on the gallery wall, with a second group, in rectangular wooden boxes, placed on the floor.

Image of invitation to Painting Doesn’t Count at Lincoln University Gallery 2022. A group exhibition including artists Andrew Bracey, Bernadette O’Toole and James Quin, curated by James Quin.

A painting that references the shape of a book hangs on the gallery wall. The word A is placed above the painting and the word Limit is placed below , both in black vinyl adhesive. On a plinth next to the painting is a footnote to the word ‘Limit’, written on an A4 sheet of paper, with a brush stroke resting on it.

The footnote to the word ‘Limit’, written on an A4 sheet of paper with a brushstroke resting on it and placed on a plinth next to the side of the painting. It explores the context of the word ‘limit’, within discourse in painting, particularly the difference between these ideas in Western painting and traditional Chinese calligraphy, where brushstrokes are central.

Photograph of a detail of the brushstroke, which the artist refers to as a ‘gesture’.

On the floor of the gallery, placed against the wall, are a collection of large rectangular wooden boxes containing a series of sculptural objects made of plaster and painted with oil paint.

A photograph of a single painted sculptural object attached to the gallery wall, showing the detail of the brushstroke, which the artist refers to as a ‘gesture’. On either side are the words ‘it’ and ‘was’.

A single bronze object - a cast of a brushstroke using the ‘lost wax’ method - is attached to the gallery wall. On either side are the words ‘it’ and ‘was’.

A photograph of the detail of a single bronze object - a cast of a brushstroke using the ‘lost wax’ method - attached to the gallery wall.

Photograph from the private view of Painting Doesn't Count, Lincoln University Art Gallery. In the photograph, the artist Andrew Bracey is talking to two guests. They are standing in front of a transcription of Fra Angelico’s The Mocking of Christ, painted by Bracey onto the gallery wall.

Image of a free-standing timber structure occupying part of the gallery floor. The structure provides a three-dimensional framework on which a series of paintings by the artist James Quin are hung.

Photograph of the gallery wall onto which a video projection shows two blank dice being thrown.

A table with 12 booklets, each made of 12 unbound, interchangeable pages, in separate covers, with individual titles. These are a visual account of the artist’s performative readings of Un coup de Dés.

A video installation of 12 videos, all 12 minutes long, recording high-tide on a full moon over 12 months.

A photograph of the video installation, which records the artist throwing two blank dice repetitively – first in slow motion, then in ‘real time’.

A video still of On Some Vacant and Higher Surface showing two dice being thrown by the artist.

A video still of On Some Vacant and Higher Surface showing two dice being thrown by the artist.

A still of On Some Vacant and Higher Surface showing two dice being thrown by the artist.

A video still of On Some Vacant and Higher Surface showing two dice being thrown by the artist.

Click the image to see the video.

This diagram demonstrates the relationship between the 12 sides of the dice and the 12 double-pages of Mallarmé’s Un coup de Dés.

A digital image of a diamond-shaped grid showing the numbers one to six, representing the sides of a dice , on a two-dimensional surface.

A digital image of a diamond-shaped grid showing the numbers one to six, representing the sides of a dice. This one has a cross-shaped, blank space running through it.

This shows a three-screen video installation, where in the centre screen we can see the artist walking to the sea, on the screens on either side, a steel column can be seen as the tide comes in.

Another multi-video installation depicting syllabic counts of Mallarmé’s poem Un coup de Dés in dots and numbers, the animation sequences are titled:

 […] A Product of the Stars; False Mansion ~1; False Mansion ~2; A Common Upsurge is Shedding Absence ~1; A Common Upsurge is Shedding Absence ~2.

A series of 12 paintings arranged on a grid, three by four.

Detail of the internal architecture of the painting installation.

Detail of painting installation.

One of the 12 paintings in the Variant Sail series.

Photograph of digital prints exhibited on the gallery wall, with a glass display cabinet below, showing corresponding double-page spreads of Mallarmé’s poem, Un coup de Dés.

Photograph of one of twelve black and white digital prints dimensions 56cm x 38cm.

Photograph of an open black archive box displaying a translation of Mallarmé’s poem on the right. On the left, a small sculptural object or ‘brush mark’, which the artist refers to as a  ‘gesture’.

A sculptural installation comprising of rectangular wooden boxes stacked on the gallery floor. Two lids have been removed revealing two large, red sculptural brush marks, or ‘gestures’.

Photograph of one of a series of tall, narrow, pale-pink sculptural objects, this one sits in an open, rectangular box resting against the gallery wall.

A photograph of a painting installation comprising of a series of three brushstrokes, or ‘gestures’, on plaster.

Photograph of oil painting hanging on gallery wall.

Photograph of oil painting hanging on gallery wall.

Photograph of oil painting hanging on gallery wall.

A desk with heaps of plaster objects stacked on top of one another. The plaster objects are the result of the artist making castings of ‘brush marks’, which are referred to as ‘gestures’.

A photograph of a window frame with heaps of plaster objects stacked on top of one another on the window ledge, forming a lattice.

Photograph of an untitled painting installation, in which a brush mark cast in plaster, then painted with oil paint, hangs on the gallery wall, a second brush mark, mirroring the first is placed on top of a canvas on the floor. A third one, cast in plaster, rests against the wall.

Detail of the untitled installation.

Photograph of a second untitled painting installation, in which a brush mark cast in plaster, then painted with oil paint, hangs on the gallery wall, a second brush mark mirroring the one rests against the wall.

Image of stall at the London Art Fair 2011, including work by M. B. O’Toole.

A doorway leading onto a painting installation titled Mirror Circle Fold. On the wall opposite the doorway hangs a rectangular painting of an oval mirror.

An image of two gallery walls, on one hangs a  oil painting of an oval mirror, on the other a large circular painting. On the opposite wall out of view hangs an identical painting. In front of the painting stands the artist.

Image of one of two identical circular oil paintings hanging on the gallery wall.