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Painting

Push and Pull

RHA Ashford Gallery, Dublin, 19 January – 11 February 2018 In a TED talk entitled ‘How architecture helped music evolve’, the musician David Byrne (of Talking Heads fame) suggested that the relationship between architecture and music is directly formative. Byrne argued that the spatial and architectural features of a venue specifically influence the sonic and acoustic characters of the music performed there. In other words, American punk band, Black Flag, are to the small hardcore club what AC/DC are to the open-air area. If we imagine visual art to be engaged in a similarly formative relationship with its venues of display, it is interesting to consider whether Niall de Buitléar’s exhibition,

Latitudes

Dunamaise Arts Centre, 19 January – 28 February 2018 Tom Climent’s exhibition, ‘Latitudes’, at Dunamaise Arts Centre, Portlaoise, was described in the gallery text as “investigating the boundaries between abstraction and representation”. Climent presented twelve roughly similar landscapes featuring a central mound, peak or outcrop on a slightly higher-than-centre horizon line. While these compositions fall within the recognisable tradition of landscape painting, the artist’s synthetic colour palette, along with occasional architectural additions, serve to unsettle the familiarity that the genre normally fosters. Perhaps Climent’s expansion of this disciplinary boundary is less focused on stylistic approaches and more concerned with how the viewer rationalises personal expectations of painting. It helps that they

At the Fade

Birr Arts Centre, 16 October – 1 December 2017 I rarely turn down an offer to travel to Birr, a heritage town with multiple architectural attractions. One of these is the Oxmantown Hall (a former parish hall built in 1888), now Birr Theatre and Arts Centre. Open in its current form since 2000, the renovated building is a jewel of Irish architectural history and a modern hub of arts activity for the town and surrounding region. The building faces a row of impressive terraced Georgian houses on a street that is shouldered by the ornate St Brendan’s Church. I travelled to Birr to see Brígh Strawbridge-O’Hagan’s show ‘At the Fade,’

Barbara Ellison / Robert Ellison

Island Arts Centre, Lisburn, 23 November – 20 December 2017 Husband and wife, Robert and Barbara Ellison, are showcasing their recent work in concurrent solo exhibitions across two gallery spaces at the Island Arts Centre in Lisburn. Without an overarching theme attributed, the exhibitions freely explore the artists’ varying techniques and painterly styles. This is a unique opportunity to see work by these two artists in the same venue at the same time, and to observe similarities and differences across their distinct practices. When opening the exhibition, artist Neil Shawcross noted that both artists are starting to gain international attention, with Robert’s work being shown in the Agora Gallery, New

BEAUFORT (“about the weather”) / Simulations / White Line Series

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

Haptic Encounters in Painting

MARTIN HERBERT INTERVIEWS RONNIE HUGHES ABOUT HIS TOURING EXHIBITION ‘STRANGE ATTRACTORS’. Martin Herbert: Perhaps we could start with a simple question: Why did you choose the title ‘Strange Attractors’ for this exhibition? Ronnie Hughes: As some people might know, it’s a term from Chaos Theory. I’ve had a layman’s interest in science and science fiction for years. Attractors are determinants within a given system that cause it to take a certain kind of form, while a strange attractor is one that has a fractal dimension. It’s a sequential or mathematical relationship, in part, that I like to use as an analogue for what happens in the paintings. For years, chaos

Biographical Landscapes

JOANNE LAWS INTERVIEWS ELIZABETH MAGILL ABOUT HER PAINTING PRACTICE. Joanne Laws: Can you describe your studio setting and your painting routine? Elizabeth Magill: My studio is in a complex with other artists run by the organisation ACME in East London. It’s a 700-square-foot white cube with light coming in from the south and looking onto Mill Row, a narrow one-way street shadowed by a four-storey brown brick and grey concrete block of council flats, built in the 1970s. I’ve been here for a long time, so I’m used to this view. I like its low-level visual interference. I also have a smaller workspace on the Antrim coast, but when I’m

Painting NOW

Green on Red Gallery, Dublin, 25 April – 22 July 2017 Painting, despite the implied immediacy of the title, doesn’t happen all at once. Between them, the nine gallery artists here – not all primarily painters – have been doing it for about 150 years. For the viewer, it can be a slow game too, that exclamatory ‘NOW’ perhaps better phrased as ‘now and then and again’. Currency aside, the more specific thing shared by this eclectic grouping is the room itself – a very large, overtly raw gallery space overlooking the rapidly changing landscape of Dublin’s Docklands. Ramon Kassam’s Gallery (2015) is a predominantly white acrylic painting on two

Crooked Orbit

Kevin Kavanagh Gallery, Dublin, 1 June – 1 July 2017 Let me begin by confessing something: over the course of the last two years, I have interviewed Diana Copperwhite twice on camera. During those conversations, we barely touched upon the formalist ‘whats?’ of her paintings in an effort to avoid muddy dialogue. The filmed conversations were more centred around the general ‘whys?’ of painting and the painter, the nature and nurture of it all; painting as a verb rather than a noun.  When I was asked to write a review of Copperwhite’s solo show, ‘Crooked Orbit’, at Kevin Kavanagh Gallery – which meant confronting the ‘whats?’ head on – I

Artistic Migration: Frank O’Meara & Irish Artists Abroad

Dublin City Gallery, The Hugh Lane, 13 February – 11 June 2017 SARI: Subject. Aspect. Restrictions. Instructions. This useful acronym, which I recommend students to use when analysing an essay title or exam question, came to mind when reflecting on the exhibition currently on display in the Hugh Lane, the title of which is ‘Artistic Migration: Frank O’Meara and Irish Artists Abroad’. [1] Applying the first part of this analysis (S and A) to the title of the exhibition, we find that the subject – what it is about – is ‘Artistic Migration’, and the aspect – the narrower theme, the particulars of what it is about – is ‘Frank O’Meara

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