A key aspect of McElwee’s practice is his use of colour to amplify psychological resonance. Saturated tones heighten emotional intensity, particularly in his use of vivid reds, which can saturate the space with a charged atmosphere. In works such as Untitled (2022), for instance, the copper surface reflects light in such a way that it not only enhances the fluidity of the composition but also heightens the emotional tension between the figures. The interplay between light and shadow magnifies the psychological charge of the moment, allowing McElwee to transform the scene into a deeply emotional exploration of the complexities of human relationships.
Similarly, McElwee uses light and shadow to shift perspective and guide the viewer’s emotional response. In works like Party (2020), the contrast of light and dark plays a key role in drawing the viewer into a voyeuristic encounter with urban loneliness. The subtle manipulation of light transforms a domestic space into a stage for the hidden emotions of its subjects, drawing attention to the intimacy of the moment and revealing the complexities beneath the surface of everyday life.
Through his refined techniques, McElwee extends beyond simple representation, transforming familiar scenes into profound investigations of the human psyche. His works are not only technical achievements but also potent explorations of identity, vulnerability, and emotional depth.
Over an art practice of more than two decades, McElwee has won several prizes and has exhibited in Spain, Italy, Scotland, and New Zealand. He studied at the Accademia di Belle Arti di Palermo and has exhibited at some of the city’s foremost galleries.
Between 2007 and 2012, McElwee spent time at Victoria University, Wellington, studying in fields of interest including History, Modern Languages with a focus on Italian and Spanish, and Humanities papers in Classics, Anthropology, Art History, and Comparative Religion.
Alongside his art practice he is a writer of fiction and a translator specialising in art history, contemporary art and art criticism. Among his translations are art historian Giulia Ingarao’s Leonora Carrington: The Image of Dreams, a biography of the surrealist artist (Milan, 2022); critic Roberto Lambarelli’s Annina Nosei, an survey of the career of the New York art dealer (Rome, 2023); and the edited volume From the Visual to the Visionary: Surrealist Trajectories in Art (edited by Alessandra Buccheri, Giulia Ingarao, and Emilia Valenza, Milan, 2023).
Parnell Gallery has represented Dominic McElwee since 2024.
