Michael D. Higgins, an admirer of Fiacc, once described his work in the following way: “Having experienced tragedy and loss, Padraic Fiacc was never afraid to reflect dark, deeply emotive and disturbing elements in his verse. His empathy for the frightened and maimed individuals on either side of the divide shone through his work.”
Minihan met Fiacc in Belfast in 1984 and the pair formed an immediate life-long friendship. In an essay about the poet, Minihan writes: “Padraic Fiacc was to poetry, what the artist Francis Bacon was to painting. Unlike Bacon, Fiacc spent most of his writing life in literary wilderness. Poets and photographers are image makers. Great poets leave us great line, as photographers leave us great pictures.” Minihan certainly achieved a great picture of Fiacc in the work at hand. This portrait was made at Minihan’s home in Oxfordshire, where he live for much for the 1980s and 90s. Fiacc sits at Minihan’s kitchen table with a poster from one of Minihan’s exhibitions on Athy behind him, creating an interesting connection to one of the most important series in Minihan’s oeuvre. Furthermore, there is a framed advertisement for Beckett’s “Waiting for Godot” in the background. In one picture, Minihan has managed to combine aspects of his personal and professional lives that are most dear to him: his childhood in Athy; his friendship with Beckett; and his love of poetry. Of course, centre stage in the work is his dear friend Padraic Fiacc, who was an influential figure in the artist’s life.
Inscriptiontitle, date © John Minihan
ProvenancePurchased, 2021
