Sean Branagan’s work has a hint of the impossible, but nearly graspable about it. He doesn’t describe the world we know - i.e. he doesn’t focus on the scaffolding, in which we communally invest, through language and social order to run our lives - an approach that delivers the comforting satisfaction of affirmation and recognition. Instead he attempts to breach ‘The Real’  – something that differentiates itself from what could be called ‘artificial’ to be more total, but which is certainly discernible from the imaginary and fanciful.
As a vehicle for ‘time’, ‘light’ and ‘movement’ (elements as valid to his practice as more conventional ones in painting like line, form and colour) the role of the projector has been variously considered in past work. For example, it was built inside the work in the LIGHT FORMS series, it was suspended closely overhead on clamps in works like 'Peep Show' and 'Where the Sun is Silent' (pieces recently seen in the group show PHYSICOLOGY at this gallery).
 According to Jacques Lacan, one must always distinguish between reality (the fantasy world we convince ourselves is the world around us) and the real (a materiality of existence beyond language and thus beyond expressibility). So much are we reliant on our linguistic and social version of "reality" that the eruption of pure materiality (of the real) into our lives is radically disruptive. And yet, the real is the rock against which all of our artificial linguistic and social structures necessarily fail.” See Jacques Lacan: The Four Fundamental Concepts of Psycho-Analysis. Trans. Alan Sheridan. Ed. Jacques-Alain Miller. New York: Norton, 1977.
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Gooden Gallery, 25A Vyner St, London E2 9DG