Sometime back in the early 2000s, I began following a blog by a mysterious character called ‘K-Punk’. K-Punk wrote with rare brilliance – and at astonishing speed – about music and other idiosyncratic preoccupations: J.G. Ballard’s urban dystopias; films by Stanley Kubrick, David Lynch and David Cronenberg; 70s sci-fi TV series; the coastal landscapes of south east England; writers of otherworldly stories like Ursula Le Guin and H.P. Lovecraft; X-Men comics; Christopher Nolan’s Batman; Kate Moss; the England football team. His rapturously eloquent, bracingly erudite posts on pop music – in its various underground and overground forms – were, though, the first to snag my interest. Often, they were hilariously spot-on in their caustic hostility towards sacred cows.
Mark Garry, Luan Gallery, Athlone, 11 February – 22 April 2017
The Luan Gallery appears to float over the River Shannon like a perfectly formed geometric ice block. The site and architecture of the building allude to fusion between natural and environmental conditions – concerns that are further elaborated in Mark Garry’s ‘An Afterwards’, currently installed across the Luan’s gracious exhibition spaces.
A native of County Westmeath, Garry often spent time in Athlone as a child, and this exhibition presents new works that attempt to forge connections between kinship and place. The cool intensity of Garry’s diverse body of work – which includes lithographs, oil paintings, video and Giclée digital prints – is given nuance by the nostalgic inclusion of (admittedly excellent) amateur artworks by his parents. This intimate familial gesture also functions to support a Beuysian assertion that everyone is an artist.