Solstice Arts Centre, Navan, 27 October – 22 December 2017
Featuring: Aoibheann Greenan, Seán Hillen, Sean Lynch, Lucy McKenna, Tadhg McSweeney, Doireann Ní Ghrioghair, Nano Reid.
The term ‘urban legends’ may trace its lineage back to the 1960s, but as a cultural phenomenon, the term has existed for millennia under the guise of folklore and mythology. The internet’s emergence has proved a double-edge sword for modern mythical incarnations, offering both the platform to spread the tale and the means to debunk it. Originally, folklore provided tales of humour or warning, and, as such, disproving them was generally not a priority. These stories often contained grains of truth – elements that rooted them in reality – before they were embellished into more thrilling versions. In recent decades, greater archaeological understanding of the Brú na Bóinne complex in County Meath has shown that this process also extends to ancient mythologies. We still cannot fully substantiate or corroborate these mythologies. This threshold between truth and myth serves as the departure point for ‘The Otherworld Hall’, recently presented at Navan’s Solstice Arts Centre. Continue reading “The Otherworld Hall”
Solstice Arts Centre, 25 August – 13 October 2017
On show at Solstice Arts Centre are three solo exhibitions by different artists, each with their own title and separate room. Free from a fixed or unifying theme, the exhibitions are loosely bound by a general sense of abstraction within the artists’ creative processes, along with some allusion to local history, heritage or landscape.
Upon entering the first space, David Quinn’s works appear minimalistic, with a series of nine intimately-sized pieces in muted colours. The strength in Quinn’s works emerges when we draw closer and discover the detail present. The works are built up of layers that variously comprise gesso, oil and paper, as well as off-cuts of plywood and perspex. The humble line takes centre stage, as Quinn records its journey across the surfaces, using an oil pencil or cutting tool. In Made, the incision in the perspex gradually deepens as the line moves left, until it flows seamlessly into a cut made in the plywood background layer. In the accompanying literature, we read that Quinn uses a ruler, yet the lines are at times imperfect, highlighting the impact of the artist’s hand or an uneven surface on even the most controlled of processes. The works jut out from the wall like raw sculptural extensions of the building’s structure, celebrating the inherent potential in the materials, uncovered by the artist’s touch.
Continue reading “BEAUFORT (“about the weather”) / Simulations / White Line Series”