The Dock, Carrick-on-Shannon19 January – 9 March 2019 Stories of displacement are not aesthetic. These are rushed, unplanned, reactive situations, without much time or resources for calculation or intention. Perhaps this is part of the reason why many people find it hard to identify with asylum seekers; it is difficult for most of us to comprehend such an urgent need to escape danger and to find a safer place. Anita Groener’s recent exhibition at The Dock captured this challenge, before we even approached the work. The title, ‘The Past Is A Foreign Country’ – taken from the opening of L. P. Hartley’s novel, The Go-Between (1953) – highlighted this sense
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
The Dock, Carrick-on-Shannon 10 February – 31 March 2018 Featuring: Alice Hanratty, Kian Benson Bailes and Eleanor McCaughey ‘Like Me’ is a show which demonstrates the continued relevance and vitality of painting and drawing. Amongst other things, the three artists explore relationships between two-dimensional artworks and architectural space, while art of the past acts as a source of joy and inspiration, rather than as a ‘dead hand’, stifling creativity. Alice Hanratty’s newly-commissioned work, Procession, is a frieze of head-and-shoulder profile portraits, based on Cinquecento paintings, such as Piero della Francesca’s The Duke and Duchess of Urbino (1467–72). The works, which form a continuous frieze around The Dock’s central hall, are
John Coyle and Gary Coyle, The Dock, Carrick-on-Shannon, 10 September – 12 November ‘Now Came Still Evening On’ is a unique exhibition presenting the work of father and son John and Gary Coyle. John’s intimate paintings occupy The Dock’s light and airy Gallery One while Gary has created a vast immersive installation in the largest of The Dock’s three galleries. John Coyle’s paintings and drawings depict scenes and people close to his studio and home. The works have a conciseness and authority clearly developed over a long career. They are reminiscent of the intimiste paintings of Vuillard and Bonnard, and of works by their more northerly descendants in Dublin and London.