JOANNE LAWS SPEAKS TO BRIAN MAGUIRE ABOUT HIS CURRENT EXHIBITION, ‘WAR CHANGES ITS ADDRESS: THE ALEPPO PAINTINGS’. Joanne Laws: ‘The Aleppo Paintings’ depict the crumbling buildings of the war-torn Syrian city. Can you describe your motivation for this work? Brian Maguire: I was very interested in the Syrian Civil War. I was reading texts by Patrick Cockburn, which made me think about how the Irish Civil Rights Movement was militarised and sectarianised. It became about Catholics and Protestants and was taken over by the military, yet it began as a civil rights movement, just as the rebellion in Syria began as a peaceful movement and very quickly became militarised by
Kerlin Gallery, Dublin, 20 May – 1 July 2017 Writing a review of an exhibition means finding an angle, a perspective, a particular point of view from which to approach the work. In the case of ‘Faith After Saenredam and Other Paintings’ this is particularly challenging, as Paul Winstanley’s recent work here is almost all about angles, perspectives and points of view, in the physical, rather than metaphorical, sense. The main gallery contains 10 paintings, while two preparatory drawings are located in the gallery office. Both their inclusion and location seem puzzling at first, but as with so many aspects of this exhibition, clarification only comes with further investigation.