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figurative painting

Gerry Davis ‘Procession’

Galway Arts Centre 11 January – 8 February 2019 ‘Procession’ is a powerfully evocative exhibition by Limerick-based painter, Gerry Davis, which generates extensive narratives. In this respect, the work demonstrates how aesthetic experience transcends language. The exhibition comprises a new body of realist paintings that address timeless and contemporary issues pertaining to the function of art. Each painting poses questions about the nature of looking, as well as the interconnected roles of the artist, the viewer and the wider public.  In some of the paintings, there is an atmosphere of solitude and depravation. For example, Studio Space 4 details a dated studio, which appears to be lacking in central heating, as

The Shape of Thought

JOANNE LAWS INTERVIEWS ALISON PILKINGTON ABOUT THE METHODS AND INFLUENCES UNDERPINNING HER CURRENT BODY OF WORK. JL: Your paintings seem to combine abstract, diagrammatic and figurative approaches. Are you conscious of having a particular aesthetic in mind, when you embark on a painting? AP: My aesthetic approach or painting style has evolved a lot over the last ten years or so, particularly since embarking on a practice-based PhD at NCAD, which I started in 2009 and completed in 2015. During this time, I made quite a deliberate break from gestural abstract painting. I think I felt the need to free myself up from a particular style of painting. It is

Shane Berkery ‘Contemporary Paintings’

The Molesworth Gallery, Dublin 1 – 24 February 2018 The title of Shane Berkery’s latest exhibition imparts little more than an implied focus on recent work, spotlighting where he is in his developing career through paintings that reflect his influences and interests. Dublin-based with Irish-Japanese parentage, Berkery eschews an overtly conceptual approach to his practice, and so may also be commenting on what contemporary art can be. The 11 canvases fall into two broad groupings, one with images of young ‘contemporary’ subjects, the other drawing on black and white photos relating to his Japanese heritage. Dating from the 1950s and ‘60s, these are characterised by informal poses and the clothing