Friday, 13 April 2018

Truth or Dare at Siamsa Tire, Tralee, Co. Kerry. Exhibition runs until the 4th May, 2018.

Truth or Dare is a group exhibition which shows work by myself, Suzanne Mortell and Grace Roberts. We all attended LSAD together and this is the first time we have shown our work together. The exhibition was opened last Friday evening and runs until the 4th May, 2018.  Catriona Fallon, CEO of Siamsa Tire, Tralee, gave a very thoughtful and perceptive opening address. It was obvious that she had put lots of care into her chosen words and for this we thank her.  It was a wonderful evening in Tralee with so much support from friends and family as the following photographs show.

Suzanne Mortell, Grace Roberts and Nuala O'Sullivan

Entrance into the circular exhibition space at Siamsa Tire

Catriona Fallon, CEO, Siamsa Tire, with the opening address

Having a look at some of my work on show

Some of the large attendance on the night.

Thanks also to Catriona, Siamsa Tire CEO, for her curation advice on the layout and to Jimmy for his expertise in hanging the work.  It has been a pleasure from beginning to end dealing with Siamsa Tire. 

Thursday, 25 January 2018

'The Watchers', Ballina Art Centre, Ballina, Co. Mayo. 18th January - 24th February, 2018

Many thanks to Ballina Art Centre in Mayo for hosting my exhibition.  Its a wonderful space to show large scale work in.

Gallery view of some of the work in situ.   Photographs with thanks from Ballina Art Centre.

Monday, 18 December 2017

Review of 'Known Unknown' exhibition currently running at Limerick City Gallery of Art on 'Arena' RTE Radio 1

It was wonderful to have the 'Known Unknown' exhibition reviewed by Cristín Leach on RTE 'Arena' programme with Sean Rocks, on the 12th December, 2017. The exhibition has work from the permanent collection hanging alongside the work of three contemporary artists - myself, Damien Flood and Daniel Greaney. The exhibition was curated by Shinnors Scholar, Simon Fennessy Corcoran.

Here's the link to the programme.

Tuesday, 21 November 2017

Residency at the Tyrone Guthrie Centre in Annamakerrig, Co. Monaghan.

I’m just coming to the end of my week at the Tyrone Guthrie Centre. My residency here has allowed time for finishing some pieces, and beginning some new.  The ability to work for whole days without the possibility of interruption is fantastic.  This proved entirely the case this time as I dropped my phone in the lake on day one, so was without phone contact all the time I was here!  But, as ever, the mix of artists and writers staying here means dinner time is a source of entertainment and stimulation after a day painting and a great chance to socialise.
Annamakerrig Lake, and last photo every from my phone before it fell in.

Studio as I leave it for the night.

Monday, 13 November 2017

'That was then, This is now' at Friarsgate, Kilmallock during November 2017.

The 9th November 2017 saw the opening of  Contact Studio's last show for 2017 at Frairsgate, Kilmallock.  It was a really enjoyable event. This is such a sociable space, and Caoimhe from Friarsgate made everyone feel so welcome.

Carl Doran, Chairperson of Contact Studios, gave a quick run through of our time together and reminded us of how different we all are, both in personality and in artistic style,  but also pointed to how we had run a tight ship for the past 19 years.

Here are a few photos I took at the event.

Monday, 6 November 2017

Known Unknowns at Limerick City Gallery of Art, Featuring Nuala O'Sullivan, Damien Flood & Daniel Greaney. Curated by Simon Fennessy Corcoran. 3rd November, 2017 to 14th January, 2018

LCGA's Invitation to Known Unknowns
Limerick City Gallery of Art's collection is eighty years old in 2017, and 'Known Unknowns' is a part of the celebration of that fact.  The three artists in the Exhibition, were selected by open submission, and created new works which were inspired by, or are responses to, works in the gallery's collection. 

As a Limerick artist I am very familiar with the collection and a regular visitor to the gallery. The collection is very varied but I have always been drawn to the women represented there above anything else.  Below are images of some of my works in the show, which have been integrated into works from the permanent collection in places.  The work in this exhibition  was curated by Simon Fennessy Corcoran, LCGA's Shinnors Scholar. At the end, I have also included the catalogue notes regarding my work. 

The show runs until the 14th January so call in if your around!

My work on the rear wall, shown with some works from the permanent collection

My work in response to the LCGA's Collection with 'Miss Vera Palmer' by Sir Gerard Kelly at the centre.

Six small paintings and Madonna on exhibition

A selection of works which had an influence on my response, alongside one of my paintings 'V is for...' at top left.

A panoramic view of part of the gallery space.

As a Limerick based artist, Limerick City Gallery of Art and its collection are well known to me, so responding to the collection has given an opportunity to both revisit and reengage with the work.
In my practice I use old family and found imagery that relates to women’s lives and to the aesthetic and culture of the 1950’s. These subjects have strong visual resonances for me and perhaps that explains why I have always been drawn to the women in the collection at LCGA.  I regularly visit ‘Miss Vera Palmer’ by Sir Gerard Kelly when it’s on show, to view her wearing that green velvet dress and pearls as adornment, her eyes forming a cool gaze across the gallery space. In contrast Grace Henry’s  women at the ‘Top of the Hill’, are huddled and chatting with their backs to the cold, and Camille Souter’s ‘Washing by the Canal’ where washing blows in the wind and hints at the domestic lives of women at the time.
My painting response, as with the collection itself, is a somewhat eclectic mix linking both women of the past with women today. If 2017 has shown us anything it is that the continuing inequality and lack of respect, shown to women in particular, continues. The paradox of the ongoing ‘Madonna-whore complex’ seems unending. My work explores some of these paradoxes often using the adornment of women as a metaphor for these contradictions. My paintings show women who often appear in ‘a situation’ which is slightly uneasy and often isolating. Within the work thin layers of paint are used to allow some of the light from the canvas to remain, reminiscent of holding a negative or piece of old celluloid film to the light,  referencing their original photographic source.