Mary Ronayne: On Undressing High Society

In the realm of art, the erosion of standards, the subversion of established rules, and the defiance of societal norms are often, if not the only, pathways through which a true masterpiece emerges.

An initial playful, light-hearted banter over Celeste’s Liquid Lunch with Friends or Afternoon Tea with Angelique swiftly escalates to Secret Gardens and Mrs. Merton’s Reception Rooms, drawing both participants and spectators into a captivating, dynamic, and provocative interplay, whether it exists in the realm of thought or takes shape on the canvas. This is the phenomenally vivid world of Irish figurative painter Mary Ronayne.

Mary, What was the inspiration behind your first-ever painting, and what compelled you to embark on your journey of storytelling through these strikingly bold, massive panels?

M.R.: For years, I searched for a painting medium that could capture the luminous quality of glass—something that could bring to life the glossy image I held in my mind. Oils, acrylics, watercolors… none of them could deliver the finish I envisioned.

My search eventually led me to look at non-traditional paint, specifically enamel and emulsion—industrial paint. Enamel, a gooey, viscous medium, can be difficult to master, but I realised I had found what I had been searching for all these years, and I have years of experimenting to go!

Art has always been deeply intertwined with another love of mine: books. Reading fiction can sometimes ignite my imagination to create a painting in response to that story or a scene from the story. In another life, I might have been an author instead of an artist, but even now, the two feel inseparable. They’re different forms of the same creative thread.

“..a scandalous family secret being whispered at a royal dinner party..”

Your subjects often evoke a sense of theatricality, as if each painting captures a fleeting scene from an unwritten play. What are your main genres?

M.R.: That’s such a thoughtful observation! I do often think of my paintings as if they’re part of a stage set, complete with a cast ready to perform. Before I even begin painting, I visualise the scene as though I’m directing a play or framing a moment in an unwritten story. I love the immediacy of it—like you’ve stumbled into a play mid-performance or opened a book right at a pivotal scene.

And here’s where it becomes a game: I want the viewer to become the storyteller. As you look closer, there’s a puzzle waiting to be solved! What’s the plot here? Who are the characters, and what’s happening just beyond the edges of the scene? My hope is to spark curiosity and invite the viewer to imagine their own story unfolding within the painting.

If art is a mirror of society, amplifying its beauty and flaws, what reflections do your art pieces unfetter?

Life can be very amusing at times. I think we’re at our funniest, and perhaps our most vulnerable, when we’re trying to conform to society’s expectations. There’s something wonderfully human about how we strive to present the best version of ourselves—polished, composed, in control. And yet, it’s in those moments when things go awry, when we stumble or falter, that our true selves shine through.

My art often reflects this duality. It holds up a mirror to society, amplifying both its beauty and its quirks. Through the lens of my work, I explore these moments of imperfection—the little cracks in the facade where humanity slips through. These reflections aren’t meant to judge but to celebrate the humour, the honesty, and the sheer unpredictability of life.

Many of your collections evoke a provocative dialogue through scenes of epochal glamour, akin to peeking through a keyhole. Do these revelations of social norms and expectations shock your viewers?

M.R.: Interestingly, I’m currently working on a series of ‘through the keyhole’ paintings. There’s something irresistibly intriguing about glimpsing people’s lives from this unnoticed, clandestine vantage point. What fascinates me is how, even in the most polished and pompous settings, our true thoughts and emotions can’t help but slip through. We may try to hide them, but the mask often falters, revealing our humanity in the midst of all the grandeur. I love playing with this tension, exposing the humour, vulnerability, and sometimes the absurdity of these moments.

Do these scenes shock viewers? Perhaps not in the traditional sense, but they do prompt reflection. They invite the audience to confront the gap between appearance and reality and maybe even laugh at how we all—no matter how glamorous the setting—are trying so hard to keep it all together.

“These reflections aren’t meant to judge but to celebrate the humour, the honesty, and the sheer unpredictability of life.”

Your paintings are bold and unapologetically layered with meaning, often sparking conversations. What were the most outrageously engrossing comments you have received?

M.R.: Some of the most outrageously engrossing comments I’ve received have been a mix of hilariously offbeat interpretations and deeply thought-provoking insights. One viewer once told me that a particular painting reminded them of a “scandalous family secret being whispered at a royal dinner party.” Another swore that one of my works depicted “a secret society planning a coup, but in designer gowns.” It’s amazing how far the imagination can take people when faced with layered meaning!

On the more personal side, someone once confessed that my work made them rethink their own life choices, particularly around the masks they wear to fit in. They described how one of my paintings felt like a mirror they didn’t expect to look into, revealing layers of themselves they hadn’t acknowledged before.

I think the boldness of my art—its unapologetic glamour, comical aspect, and occasional absurdity—creates an open space for viewers to reflect on their own stories. Whether their comments are outrageous, introspective, or just wildly creative, they always remind me of the infinite ways art connects with people.

“..someone once confessed that my work made them rethink their own life choices, particularly around the masks they wear to fit in.”

Monaco has received your work on several occasions with outstanding warmth through lavish scenarios and pleasure-seeking motives. Besides your success in Monaco, what other hotspots championed your blooming success?

M.R.: Monaco has truly been a generous and inspiring host to me. I’ve been fortunate to exhibit there twice, with HOFA at Yellow Korner. The generous hospitality I’ve received during events like Monaco Art Week and the Yacht Show has not only celebrated my work but also sparked fresh ideas for new creations. The entire experience—of being immersed in such opulent and pleasure-seeking environments—has been profoundly inspiring.

Beyond Monaco, my work has found enthusiastic audiences all over the world. It’s deeply humbling to know that my art resonates across such diverse cultures.

Any observer of Mary Ronayne is bound to discover their own narrative, momentarily shedding the facade imposed by a superficial society to revel in the joy of true authenticity.

Images courtesy of the artist.