Author Archive

Diana Copperwhite

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Diana Copperwhite will take part in this year’s TULCA Festival of Visual Arts, Tactical Magic, opening Friday 1st November 2019.

TULCA 2019 Artists
Anri Sala, Barry Mulholland, Christian Fogarolli, Day Magee, Diana Copperwhite, Helen Mac Mahon, Jesse Jones, Katherine Sankey, Linda Pense, Mark Cullen, Martina O’Brien, Michelle Doyle, Michael Fortune, Paul Duane, Rajinder Singh, SUBSET, Una Quigley, From the Bogs of Aughiska, Natalia Beylis, Branwen Kavanagh, Geels Lampa A Ela (The Hope Collective). 

Venue opening hours – Friday 1 November
TULCA Festival Gallery: 19.00 – 21.00
Galway Arts Centre: 10.00 – 17.00
126 Gallery: 15.00 – 18.00
Columban Hall: 15.00 – 18.00
NUIG Gallery: 15.00 – 18.00
Engage Art Studios Gallery: 15.00 – 18.00
The Hall of the Red Earl: 10.00 – 16.45
Galway City Museum: 10.00 – 17.00
Tuam Library: 10.30 – 17.00

TULCA Festival Gallery, William St, Galway –

Robert Armstrong

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Robert Armstrong’s painting, The Meeting, is on the cover of Pale Sister, a new publication by Colm Tóibín. Pale Sister, written by Tóibín for Irish actress Lisa Dwan, is a dramatisation of the voice of Ismene, the sister of Antigone, who recounts her sister’s defiance of the king as pressures mount on Ismene herself to act to vindicate her sister, or even follow her example. The world premiere of Pale Sister takes place at The Gate Theatre from October 31st.

Diana Copperwhite | Proto Fiction And The Sleep Of Reason | 10/10/10-09/11/19

Written by Ingrid Lyons on . Posted in Exhibitions

how things stand, at this very moment

In Diana Copperwhite’s exhibition Proto Fiction and the Sleep of Reason, her paintings appear to pulse, glow, dissolve, vibrate, radiate, to fade in and out of focus even as you look at them. Layers of scuffed, scraped and smeared colour partially obscure any underlying images or suggestions of recognisable subject matter. You, just briefly, see something there, a hint of the familiar, before it disappears again – and even the memory of its vision dissipates in turn. Copperwhite is adept at implicating the spectator in her artistic process, as she registers and records the intangible and the imperceptible: radio waves, infrared light, a change in atmosphere, impinging external distractions, flights of memory or free association. These ephemeral, evanescent elements all come together in the canvas, even if only momentarily before being buried within subsequent gestures.

Consider, for example, Electric Scream, with its overpowering central image of an oval void, a gaping aperture outlined with concentric, coloured rings. They seem to reverberate, ripple, and throb as they echo out from the centre. Despite the essentially abstract nature of the composition, I’m reminded of Edvard Munch’s The Scream, and particularly Frederic Jameson’s perceptive reading, that the work: “elaborately deconstructs its own aesthetic of expression, all the while remaining imprisoned within it. Its gestural content already underscores its own failure, since the realm of the sonorous, the cry, the raw vibrations of the human throat, are incompatible with its medium.” Similarly, Copperwhite’s piece implies sound without making any, or, perhaps more accurately, visually records those sounds that remain inaudible to the human ear (but which can nevertheless still be felt physically, like a deep bass note). She has often mentioned the role that music plays in her work, in the background of the studio, just occasionally catching her attention and pulling the painting in a new direction. The inverse of this is all those instances when music is not noticed but registers nonetheless: it insinuates itself into the work without specific intent or reference, as a mark of other, unseen, voices in the room. They hum under the surface.

The studio – and what happens in it – is key to understanding Copperwhite’s work. She has described her propensity to work on multiple paintings simultaneously, a willingness to let her antennae guide her away from a work in progress, to pick up where she had previously left off, to catch some invisible frequency and pursue the slightest flicker of a new idea or direction. This sensitivity is, of course, refracted through the agency of the artist herself, her distillation of these various instances into action and materiality, into paint on canvas. As Sara Ahmed writes:

“So we may walk into the room and “feel the atmosphere,” but what we may feel depends on the angle of our arrival. Or we may say that the atmosphere is already angled; it is always felt from a specific point. […] Having read the atmosphere, one can become tense, which in turn affects what happens, how things move along.”

Rather than merely serving as a conduit to or document of her environment, the painting, in its ongoing development over multiple returns and revisions, filters back into and affects that very same atmosphere. There is a dialectical back-and-forth of external factors informing internal reflection motivating action which, caught in a loop of feedback, becomes one of those factors in the room. Only when Copperwhite moves to ‘finish’ the work, to consciously terminate this potentially never-ending process, does it come to an end (at the time of writing, some of the works in the exhibition are still undergoing the final stages, gradually circling towards their moment of conclusion).

The prismatic effects deployed across numerous canvases operates as an indication of this spatial awareness as well, an abstract(ed) representation of the immeasurable, impalpable qualities that permeate the air around us. In The Sleep of Reason, rainbow-like swathes bend and swirl, captured in pure, intense vibrancy and in muted, washed-out stillness, while in another, as-of-yet untitled, composition, a sweep of vivid colours, capturing the full spectrum of light, juts up against an implied figure, a silhouette in blue-purple-maroon-white. There is no differentiation or distinction between solid form and ambient atmosphere: they are composed of the same qualities, the same subatomic particles, the same tubes of paint. This synthesizing effect is deeply embedded in Copperwhite’s works, bringing together memory and insight, the physical and the ungraspable, into a cohesive whole, towards an instant of perfect coherence. Before the atmosphere shifts, angles itself, and the painting responds in kind.

Chris Clarke, 2019

Geraldine O’Neill

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Geraldine O’Neill, In This Brief Time- Rabhlaí Rabhlaí, 2019.

Kevin Kavanagh is pleased to announce that In This Brief Time- Rabhlaí Rabhlaí by Geraldine O’Neill has recently been acquired by the Irish Arts Council.

The painting shall be included in an exhibition of works from the Arts Council’s collection taking place on Friday the 20th of September to mark the occasion of Culture Night.

For more information please see:

Aileen Murphy

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Aileen Murphy, The Bed, 2019.

‘Panting’ is a solo exhibition of paintings by Aileen Murphy at Temple Bar Gallery and Studios.

With this series of new paintings, Murphy responds to a fundamental set of questions: How can a painting remain open and yet still hold together? What is elastic space? How can painting complicate its own space, or abstract the figure? Furthermore, the artist states that each work also asks a different question, and each possessing a different voice.

Described by fellow artist Julia Dubsky as ‘recalciltrant’,  Murphy’s paintings buck style and taste in a manner that draws out deeply human physical or emotional sensations such as laughing, crying, kissing, licking. When felt intensely, these are uncontrollable actions, and Murphy amplifies their physicality, sound and texture through a vivid palette and defiant gestural mark-making.

‘Panting’ runs from the 20th September to the 16th November 2019.

For more information, please see:

Sonia Shiel

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I Am What You’ve Come To See

Void Gallery, Derry

5th September – 1 November 2019

I Am What You’ve Come To See is a solo exhibition of work by Sonia Shiel currently on view at Void Gallery, Derry.

In all works of fiction there belies an agreement that the reader/the viewer will allow for a suspension of disbelief. For I Am What You’ve Come To See, Sonia Shiel has transformed the three gallery spaces into a circular narrative, casting the audience as its central protagonist.

The viewer is compelled to move through the galleries by a series of scripted audio-visual instructions, strategic objects and obtuse props that feign seemingly ungovernable chances – in a shapeshifting journey that is entirely staged.

For more information please visit:

Kathy Tynan and Stephanie Deady nominated for Hennessy Craig award.

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Kathy Tynan, Une belle chambre de mort, 2019.

Stephanie Deady, Concealed Pink I, 2019.

Kevin Kavanagh is delighted to announce that Kathy Tynan and Stephanie Deady have been nominated for the The Hennessy Craig award.

Established at the bequest of the estate of Patrick Hennessy and Henry Robertson Craig, the award is offered on a biannual basis to artists under the age of thirty five whose work has been shown in the Royal Hibernian Academy’s annual exhibition.

Paintings by Tynan and Deady are currently on view in the Tony Ryan gallery at the RHA as part of an exhibition of shortlisted artists accompanying the award.

For more information, please see:

Green Like Now | Kathy Tynan | 05/09/19-28/09/19

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Kevin Kavanagh is proud to present Green Like Nowa solo exhibition of new paintings by Kathy Tynan opening 5pm Thursday 5th September.

From Wednesday 11th to Sunday 15th  September, Green Like Now will be transformed into a set for Pretty Feelings, a new play by Isadora Epstein written in response to Tynan’s paintings, performed by Epstein, Conor Lumsden and Ruan van Vliet. This will be part of The Dublin Fringe Festival. Booking is required so for show times and tickets please contact the Dublin Fringe Box Office.

On Culture Night, Friday 20th September the gallery will host a musical performance by Sinéad Onóra Kennedy at 8pm.

It was finally now. It was simply now. It was like this: the country was at 11:00 A.M. Superficially like a green yard of the most delicate superficiality. Green, green- green is a yard. Between myself and that green, the water of the air. The green water of the air. I see everything through a full glass. And nothing is to be heard. In the rest of the house the shadows are all swollen. Ripe superficiality. It is 11:00 A.M. in Brazil. It is now. That means exactly now. Now is time swollen to its limit. 11:00 A.M has no depth. 11:00 A.M. is full of eleven hours up to the brim of the green glass. Time quivers like a stationary balloon. The air is fertile and wheezing. Until, with a national anthem, the tolling of 11:30 cuts the balloon’s restraining ropes. And suddenly we’ll all reach noon. Which will be green like now

Extracted from Clarice Lispector’s The Passion According to G.H. 


a poem by Karina Tynan 

It’s a faint groundedness,
Hard to reach not to mind touch.

Sometimes almost found
In the turn of an autumn day

When the promise of evening
Has a feeling of shelter in it

And familiarity.
The music of the news on the telly,

Maybe something frying, always the usual
Nothing special like salad or pine nuts.

A very faint groundedness like the memory
Of  a love that never took shape.

David Quinn | Available works

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David Quinn

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David Quinn is an artist living and working in Mayo. He graduated with a BA in Fine Art from the National College of Art and Design in 1991.

Quinn has a longstanding relationship with Kevin Kavanagh. He has exhibited six solo shows at the gallery, most recently Hungry Rock (2010), and participated in numerous group shows. Quinn has shown work in institutions country-wide, including the Fenton Gallery, Cork (2007), the Hamilton Galery, Sligo (2011) and the RHA, Dublin (2004, 2017). His work has also been exhibited internationally in Glasgow (Leabhair Mor na, 2003) and Tallahasse(Works on Paper, LeMoyne Art Foundation, 2003). 

Quinn was the recipient of the Royal Dublin Society Taylor Art Award in 1991 and the Golden Fleece Merit Award in 2007. Public collections include the Irish Museum of Modern Art, Irish Embassy Washington D.C, the European Parliament (Brussels) and the Office of Public Works.

SIRENS PART III |Celina Muldoon |22/08/19-31/08/19

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Kevin Kavanagh is proud to present SIRENS Part III, an exhibition and a performance by Celina Muldoon taking place Thursday 22nd at 7pm. Performance duration approx 25 mins. Muldoon will also be in conversation with Sue Rainsford in the gallery at 1pm Saturday 24th August. There will be a screening of the performance followed by an artist talk at 4pm Saturday 31st August.

SIRENS Part III is the third in a series of test events. For 2 weeks in August Kevin Kavanagh Gallery will become a site of call/response; action/reaction. 
SIRENS was originally conceived out of a desire to identify mythological races based around her home in Donegal and the isolated community of the North West of Ireland. What transpired was a deep exploration into our ancient cultural heritage and the supernatural sea-faring race called the Fomorians or Fomoire. Her research involved collaboration with young people in Donegal around their ideas of identity, isolation and a sense of place while living within fringe territories. Recurring topics where relationships with space, connections between landscape and escapism and rally culture.
Muldoon collaborated with writer Sue Rainsford to explore language, text and symbolism in ancient folklore and how they might translate in contemporary culture. Working with music producer Keith Mannion they tested experimental sound techniques to create a ‘battle cry’ or ‘Siren Call’ for the contemporary world. What evolved became a re-imagining of the power structures within Irish folklore to claim space through live performance, sound and text. SIRENS live installation – performance has been presented as a solo exhibition in Pallas Projects and Studios, as a Live procession from Temple Bar Gallery to The Project Arts Centre as part of LIVE COLLISION festival and will be exhibited as part of RHA FUTURESthis November.
Celina Muldoon
Muldoon (b.1980) is an Artist based in North West Ireland. Graduating with a First Class Honours degree in Fine Art, I.T. Sligo in 2014, with work in their permanent collection. Muldoon completed  an MFA in Sculpture from N.C.A.D. in 2016. Her graduate work ‘We are in cahoots…You and I’ was selected  for Mobius(Boston) int. performance festival 2017 and Craw festival Berlin 2018. She has exhibited in TBG&S, The Complex, waveparticle and Celine gallery, Glasgow and Project Arts Centre Dublin. Residencies include  MART and the Tyrone  Guthrie Centre. She has been awarded the Next Generation Bursary award, The Artist in the community scheme award and a residency in Cowhouse studios in partnership with The Mothership Project in November 2018 and the prestigious Temple Bar Gallery and Studio Project Studio Award 2019. Current research projects include a collaborative performance and  film culminating in a major exhibition in 2020. The debut of this project took place as part of Periodical Review #8 in PP/S Dublin.  
Sue Rainsford
Sue Rainsford is a fiction and arts writer based in Dublin. A graduate of Trinity College, IADTand Bennington College, she is a recipient of the Arts Council Literature Bursary Award, theVAI/DCC Art Writing Award and a MacDowell Colony Fellowship. Her debut novel, Follow Me To Ground, was awarded the Kate O’Brien Award, and is longlisted for the Republic of Consciousness Award. Follow Me To Ground is available from New Island Books, and is forthcoming in the UK with Doubleday as well as in the US with Scribner. Currently, Sue is a visual arts writer in residence at the Roscommon Arts Centre, and with the generous support of the Arts Council she is working on her second novel, Redder Days.
Slow Place Like Home
Slow Place Like Home is the music of producer/musician Keith Mannion.
Based in the forests of Donegal, in the North-West of Ireland, he has released a series of EPs and two albums – debut ‘Romola’ in 2015 and the critically acclaimed sophomore ‘When I See You… Ice Cream!’, in 2017. He is currently writing new material as ‘Slow Place Like Home’ and is also a member of the band ‘Gaze is Ghost’, for which he is currently finishing a new album. His music and videos have featured on TV and Radio both nationally and internationally including MTV and Australian terrestrial T.V. His work has aired on radio stations such as KCRW, WFMU, BBC Radio 1 and BBC 6 music. Mannion has played live shows with Fujiya &MiyagiDan DeaconSquarepusherPerfume GeniusDay WaveEzra FurmanMoodoïdPrince RamaGlass Animals,Pantha Du Prince, Gold Panda and Amadou & Miriam. He has collaborated with luminaries such as Fearghal McKee (Whipping Boy) & The Cyclist (Stones Throw Records). He tours with various versions of his live band and will embark on a European tour in late 2019. Mannion is currently signed to Galway’s Strange Brew record label.

High Day | Group Show | 01/08/19-17/08/19

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01th – 17th August 2019

Sean Lynch, Elaine Byrne, Mark Swords, MIck O’Dea, Richard Proffitt, AileenMurphy, Geraldine O’Neill

High Day is a celebration of the accomplishments and diverse processes of a selection of gallery artists at varying stages of their careers. Incorporating a mixture of drawing, painting, sculpture, photography and collage, the exhibition hosts a vibrant conversation between form and medium.

Aileen Murphy’s gestural paintings on paper depict colourful figures playfully contorting their bodies and reveling in their own fleshiness. Through whimsical brushstrokes of vivid yellows, pinks and greens, the painted bodies seem at once internal and external, corporeal and intangible. Also making reference to the body, Richard Proffitt grounds​ his delicately assembled sculptures with painted hands and feet made of clay. Shown alongside some works on paper, these lumpy, disembodied appendages provide a necessary support to a series of fragile objects held together by sticks and string in a way that is both funny and strangely tender. 

Mick O’Dea’s works on paper disclose a ritualistic annual return to an island off the west coast of Ireland. While the paintings are made in the same location each year and contain certain abiding features, they also radiate with an otherworldly quality. These summer scenes, although true to life could have taken place in a completely different time ​or in some other hemisphere. Ice Cream Dream, a large painting by Mark Swords conjures all the joy and exultation of a child’s day at the beach. The liveliness of both composition and colour within the painting gives rise to dreams of beach huts adorned with glittering plastic, pink candyfloss and inflatable beach balls. The painting also contains certain markings and layers that convey an alluring sense of secrecy or an impression that its message has only been partly revealed.

Sean Lynch’s photographic close ups of seabed dioramas extend an invitation into another world. This one is filled with manmade sea anemones, baby squids and rippling foliage against a painted backdrop of shadowy oceanic depths. The photographs create mysterious moments of a kind of fabricated intimacy in which the viewer might feel inclined to dwell. Accompanying her sculptural works, ​Elaine Byrne’s photograph, Mushroom, depicts a curvy mushroom cap growing from the side of a mossy tree on Saint’s Island, Lough Derg. The piece is part of a series originally shown in a solo exhibition in Rome in which the artist examined the contemporary notions of corruption and punishment through the texts of 14th century pilgrims. Geraldine O’Neill’s paintings fall somewhere between past and present, dreamscape and reality. With masterful technique, O’Neill intermingles the grandiosity of art history with the normality of the everyday in a way that provides them with an equal status. Her canvases create a space of hallucinatory freedom for ideas to roam and flourish. 

High Day offers the opportunity to pause and take stock of these artists’ practices as they are in the present moment and also to look to the future through new artworks, indicating journeys yet to come. Bringing together a range of distinct and contrasting practices, High Day explores the abundance of information contained within each artwork. The exhibition invites the hazy blurring of boundaries that occurs when the artworks are read in relation to one another.

Vanessa Donoso Lopez | Available works

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Ulrich Vogl | Available works

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Stephen Loughman | Available works

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Sonia Shiel | Available works

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Sinéad Ní Mhaonaigh | Available works

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Sean Lynch | Available works

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Robert Armstrong | Available works

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Richard Proffitt | Available works

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Paul Nugent | Available works

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Paul McKinley | Available works

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Nevan Lahart | Available works

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Micheal Boran | Available works

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Mark Swords | Available works

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