This display involves two exhibitions in one. It contains works from the series Logos: the Word Without a Word completed while the artist was working on his Doctorate, and Narcissus Finding Cessation produced in 2006. The exhibition involves 48 paintings and 13 black and white drawings to present an exciting, colourful and harmonious display. As we walk around the large gallery each exhibit can be appreciated from across the room and up close for it's surface quality, imagery and underlying concept.

Many of us approach a painting and examine the surface quality to better appreciate the use of medium, colour and texture, lines and forms. McNamara's painted surfaces invite close examination as the textural effects, layers of colour, and variety of brush marks tempt us to touch. It's hard not to get lost in The Day Refracts a Flower for Narcissus. The juxtaposition of rich hues hint at earth, foliage, sky and water in a unique manner. It invites and holds our attention from afar with it's sense (rather then depiction) of landscape. Up close we find written words that give the painting a new perspective. Then there are the more subtle and contemplative paintings, works of smooth surface quality where the image seems to emerge from a 'wash' of colour. These works are visually appreciated all the more for being barely there.

We also respond to the image that emerges from coloured lines and shapes by interpreting the marks and forms on a 2D surface as replicating 3D reality. An oval can suggest a face, a curved line set high in that oval is deciphered as an eye brow, lower down a mouth, as the mind draws the conclusion. This artist can and does draw well with a brush and I do enjoy how he employs strong contour lines to depict his subjects. There are many well-defined images like Three Faces, a relatively small well-drawn and painted image of cherubs and employing only 3 colours. But equally appreciated are the less defined yet more intriguing works like The Fire and Rose Are One. Up close this painting appears to be a collection of random red and blue marks that float on the surface like scattered thoughts or painted hesitations. When we step back to view the work, the marks fuse in our mind's eye to become an image of the Holy Family. If you enjoy good drawing, check out Cups. Each small black and white image provides a lesson in how a simple subject rendered in a basic drawing material by a good artist can indeed be a powerful work of art.

As with all art, we innately respond on a conceptual level to the iconography employed by the artist. This may be either intellectual, emotional or spiritual according to both the intention of the artist and interpretation of the viewer. Without doubt there's a well considered intellectual and philosophical approach to both series of works shown here. One exhibit that encompasses this beautifully is How to Hold and Equally How to Let Go Be Held where two boys are placed around the draped skirt of a woman. Although the image appears to be 'unfinished' we are reminded of those religious icons and frescoes depicting the Virgin with Child and St John. Here one child appears ready to leave the protective circle of maternal care while the other clings to the mother's leg. Or perhaps she is holding him back. The Madonna is not complete so we must inject our own dialogue into the image, which is influenced by artistic, historical and philosophical ideas. McNamara's works touch on duality's such as virtue/vice, history/mythology, spiritual/physical, art/philosophy allowing us the freedom to interpret 'icons' such as (M)OTHER LOVE as either sacred or profane.

Do see this show and if you are not cognizant of the art history, religious or cultural authorities that influence McNamara, you can still appreciate the exhibition and relate to the paintings as they echo archetypal concepts. There is also a comprehensive set of notes available for those who want to know more about the impetus for these exhibits. This is a good show, thought provoking and visually exciting.