‘These paintings take the viewer across the dystopian notion of a Brexit on the border’.
Dermot Seymour, born in Belfast (1956), lives and works in Mayo. Recent solo exhibitions include Fliskmahaigo, Kevin Kavanagh, Dublin (2014), Fish, Flesh & Fowl, Golden Thread, Gallery, Belfast (2011) and at Centre Culturel Irlandais in Paris (2012). Seymour has also exhibited with Solstice Art Centre, Navan (2012), Millennium Court Arts Centre, Portadown, Co. Armagh (2004) and at Westport Arts Festival, The Custom House gallery, Westport (2003). Recent group exhibition include Instant Crush, Kevin Kavanagh, Dublin (2014), The Horse Show, Kinsale Arts Week, curated by Gemma Tipton and Patrick T.Murphy (2011), In the Mind’s Eye, State Art Collection Touring Exhibition (2009), The Happiest Country in the World, An t-Oireachtais Exhibition, Curated by Cliodhna Shaffrey and Ruairi O’Cuiv (2005) and Art for Amnesty, In the Time of Shaking, Irish Museum of Modern Art, Dublin (2004). Dermot Seymour is an elected member of Aosdana and is the recipient of numerous awards including the Marten Toonder Award (1996) and the Cultural Relations Committee / An Roinn Gnothai Eachtracha award (1994). Seymour’s work is held in numerous public and private collection including the European Central Bank, AXA Insurance, the Office of Public Works, the University of Ulster, the National University of Ireland, Galway and the Arts Council of Ireland.
Night Table, an exhibition within Constellations
Curated by Fergus Feehily
3rd – 11th November, 2017 / Project Room, the Exhibition Laboratory Project Room, Lönnrotinkatu 35 Helsinki.
Night Table is an exhibition with work by Emma Ainala, Andrew Vickery, Liisa Karintaus, Kathy Tynan, Jon Verney, Laura Wesamaa, Christina Read and Lewis Miller.
Conversations In Light And Dark, a two day symposium will run 8th and 9th November, 2017 / Exhibition Laboratory, Merimiehenkatu 36 C, inner yard, 00150 Helsinki.
There will be presentations and panel discussions from Terry Winters, Declan Long, Alex Olson, Yuki Okumura, AGF aka Antye Greie-Ripatti, Kukka Paavilainen, Jonatan Habib Engqvist, Daniel Werkmäster and Aino Lintunen.
Richard Proffitt will show new works as part of the 15th TULCA Festival of Arts, curated by Matt Packer.
November 3rd-19th, 2017
The exhibition, titled They Call Us The Screamers, features the work of Fabienne Audeoud, Sam Basu and Liz Murray, Kian Benson Bailes, David Beattie, Oisin Byrne, Ciarán Ó Dochartaigh, Vicky Langan and Maximilian Le Cain, Liz Magic Laser, McGibbon O’Lynn, Yvette Monahan, Yoko Ono, Plastique Fantastique, Bob Quinn, Florian Roithmayr (with Meredith Monk), Kaspar Oppen Samuelsen and Marie-Louise Vittrup, and Lucy Stein, including 13 new commissions and projects. The exhibition is presented across six venues in Galway: Galway Arts Centre, 126 Artist- Run Gallery, Nun’s Island Theatre, Connacht Tribune Print Works, Barnacles Hostel, and University Hospital Galway. The official launch will take place at the Connacht Tribune Print Works at 19:00 on Friday 3rd November, preceded by a performance by Plastique Fantastique at Nun’s Island Theatre at 18:00.
For further information please visit the TULCA Festival website.
Please join us at Vue Art Fair 2017 to view recent work by Stephanie Deady, Kathy Tynan, Richard Proffitt, Aileen Murphy and Joe Scullion.
Royal Hibernian Academy
15 Ely Place
November 2nd -5th, 2017
Thursday 6-8pm (Preview)
For more information please visit the Vue Art Fair website.
Solstice Arts Centre presents The Otherworld Hall
Curated by Sabina Mac Mahon
27th October – 22nd December, 2017
Tadhg McSweeney and Seán Lynch will show work as part of a group exhibition titled, The Otherworld Hall alongside Aoibheann Greenan, Seán Hillen, Lucy McKenna, Doireann Ní Ghrioghair and Nano Reid.
This diverse exhibition brings together painting, sculpture, installation, photographic collage and video work by artists investigating the ancient myths associated with the Boyne monuments and Brúg na Boinne, the Otherworld mansion or “hall” on the Boyne.
Opening Talk Other Worlds: A Travel Diary
Join writer and documentary-maker Manchán Magan during the opening of The Otherworld Hall for a captivating journey through some of the elusive other worlds – mythological, physical, historical, cultural and archaeological – that he’s encountered on his travels, both in Ireland and abroad. Thursday 26 October 2017, 7:30pm Please note corrected date in this updated email Admission free but pre-booking is required
For further information please visit the Solstice Arts Centre website.
FRIEZE LONDON 2017
JUDITH HOPF AILEEN MURPHY
Focus, Booth H16
05.10. – 08.10.2017
Aileen Murphy has shown her 2016 painting Mildred Rasher Bean alongside work by Judith Hopf at Frieze, London ahead of her upcoming solo exhibition with Deborah Schamoni, Munich in January, 2018.
For further information please visit Deborah Schamoni website.
Temple Bar Gallery + Studios
Supporters Club Talk #12 | Alison Pilkington and Stephen Loughman
Tuesday 17 October 2017 | 6.30pm
To attend join Temple Bar Gallery + Studios Supporters Club here and book your place by emailing email@example.com
The donation fee for non-Supporters Club members is €5
Alison Pilkington and Stephen Loughman will converse around themes of contemporary painting and their own painting practices. In this two-way conversation, these two distinct and vital contemporary Irish painters explore ideas from the uncanny to the subject of imagery and the various influences on their art, from commercial film to art history. In her quasi figurative paintings, Alison Pilkington seeks to explore the interaction between the ‘intrinsic qualities’ of paint as a material, and how they can be manipulated by the artist; utilising subject matter that has the ability to be both familiar and disorientating. Stephen Loughman utilises imagery usually sourced from commercial films or post cards purchased online. The act of freezing these images in painted form allows him to distil and re-edit them to form (as Hugo Hamilton has written) “a cross reference fictionalised somewhere in the past by culture and commerce”.
For further information please visit Temple Bar Gallery + Studios Website.
Crawford Art Gallery, Cork
Thursday 19th October at 1pm
Sonia Shiel will take part in a conversation with Dawn Williams at Crawford Arts Gallery, Cork. The conversation will centre on the Artist’s practice, particularly in relation to her exhibition Rectangle, Squared.
Rectangle, Squared continues until 28th October, 2017.
For more info please visit the Crawford Art Gallery website.
Claremorris Gallery, Co. Mayo
30th September – 14th October 2017
A solo show, Emergence, by Margaret Corcoran will open Saturday September 30th at 7.30pm. The show will run until October 14th during gallery hours, 1 – 6pm, Weds – Sat, after which the show can be viewed by appointment until October 14th.
“We see the past in terms of representational strategies used to describe it. This idea has been integral to the rationale of Margaret Corcoran’s work. Her paintings have revisited historical eras with the aim of illuminating the world views implicit in the images and the ways they were constructed, generally with particular regard to the role of women, of looking, of seeing and making. Her engagement has been broadly critical and analytical”
– Aidan Dunne, Irish Times, 2009
For more information visit the Claremorris Gallery website.
Image: Margaret Corcoran, The Disruption, 2017
‘The works in Obscura consider the role of the camera in diagnosing and treating patients at the Salpêtrière. By referencing techniques in the development of photography, and in his depiction of various angles of the asylum chapel, Nugent considers the relationship between photography and painting to imply a presence or semblance of place associated with historical and institutional environments’
Extracted from, Asylum Chapel, a contextual essay by Ingrid Lyons. Full text available here.
Paul Nugent lives and works in Dublin. Recent solo exhibitions include NIGHTSHADE, Kevin Kavanagh, Dublin (2015), a solo presentation at VOLTANY, New York (2011), Remembrance Part I & II, Kevin Kavanagh, Dublin and Remembrance, Kerava Art Museum, Finland (2009). Selected group exhibitions include Many Worlds, Centre Culturel Irlandais, Paris (upcoming Sept, 2017), Golden Record, Galway International Arts Festival, Galway Arts Centre (2017), Trove, Irish Museum of Modern Art, Dublin, curated by Dorothy Cross (2015), In Darkness Let Me Dwell, Solstice Arts Centre, Navan (2015), Prelude Speaker, Group show, Castletown House, OPW in partnership with Crawford Art Gallery (2013), Last, Douglas Hyde Gallery, Trinity College Dublin (2011) The Painter, the Draughtsman, the Dealer and their Lovers, Voges Gallery, Frankfurt, Germany (2011) and What Happens Next is a Secret, Irish Museum of Modern Art, Dublin, curated by Marguerite O’ Molloy (2010). Nugent was awarded a residency at the Centre Culturel Irlandais, Paris in 2005 and he has been the recipient of the Visual Arts Bursary, multi-annual award, The Arts Council/An Chomhairle Ealaíon in 2004-2006 and 2008. His work is held in numerous public and private collections both in Ireland and internationally including the Office of Public Works, the Irish Museum of Modern Art and DCU (Dublin City University).
Dunamaise Arts Centre,
12th October – 11th November, 2017
Dunamaise Arts Centre, Co. Laois and Kevin Kavanagh, Dublin present an exhibition of recent work by Stephan Loughman and Michael Boran.
Michael Boran and Stephan Loughman are two artists of the same generation with family ties to Co. Laois. Within each of their practices they investigate the changing dynamic between our perception of the natural landscape and the ever expanding built environment.
In viewing Boran’s photographs and Loughman’s paintings side by side we are presented with divergent forms of media that approach similar subject matter. Loughman’s paintings feature tunnels, bridges and arches amidst verdant foliage, referencing architectural intervention in the landscape. Boran’s photographs span the undergrowth of the garden to the heights of telegraph poles. As the works relate to one another, we can observe a multitude of connections and affinities. Throughout (Exhibition Title), both artists consider the softening boundaries between rural and urban.
More information available on the Dunamaise Arts Centre website.
K R I E G
28.9 – 30.11.2017
Opening: Thursday 28.9 (6 pm)
The title of Nevan Lahart’s first solo exhibition in Belgium, Liberty Party Shop, was found on the side of a van a few doors down from his studio in The Liberties, Dublin.
Naivety is the new newspeak for courage. But what to expect, if not bunting, helium filled balloons and personalised flags? The following word salad is an appetizer of what’s on the menu.
Green Screams on Tarpaulin Travesties rendered in Payne’s Gray. History is a low rendered CGI poly mesh search engine, to add colour and form to the unconvincing backdrop of our lives. Unfashionably fathomable. Cured in el-blow grease. Distilled in despair. Gastronomically speaking it’s flavoured with some wholesome stables of Flemish liquid colour, dressed in a stodgy drizzle of Gaelic Island belligerence.
For more information please visit the KRIEG gallery website.
Sonia Shiel at The Crawford Art Gallery, Cork
9th September – 28th October, 2017
Sonia Shiel’s exhibition Rectangle, squared. invites the viewer into a series of performative spaces, where-in the action is painted, built, written, presented, intimated or provoked in chapters titled by shape and interspersed with props, some still, some moving. The exhibition tells the story of a fictional artist’s surreal encounters with the illusory world she finds herself in, and the tremendous challenges it throws her. Shiel’s work contemplates the mundane drama of living, in a series of large scale works that appear to be peripatetic but are connected through their surreal narrative imagery. Bold, yet enigmatic, Shiel’s works conjures theatrical connotations both through their life-size scale, and in their staged scenarios which allow us to interrogate, dream and hold empathy with the characters portrayed by the artist.
More information available here.
Image: Sonia Shiel, Still Life with Bouquet, 2017
Elaine Byrne will take part in a group exhibition titled The Ocean After Nature curated by Alaina Claire Feldman and produced by Independent Curators International (ICI). The Ocean after Nature considers the ocean as a site reflecting the ecological, cultural, political, and economic realities of a globalised world through the work of twenty artists and collectives. In September 2017 The Ocean After Nature continues its international tour at Dublin City Gallery The Hugh Lane. At every hosting site, a new work by a locally based artist is added to the exhibition in order to further contextualise the exhibition for diverse global audiences. Dublin City Gallery The Hugh Lane has invited artists Elaine Byrne and Philip Napier to contribute to the project, Byrne will be showing new sculpture works and a new video, commissioned by the Hugh Lane.
Elaine Byrne at Rosenbach Museum and Library
Elaine Byrne will give a public lecture at the Rosenbach Museum and Library, Philadelphia (September) to discuss her work in relation to the museums purchase of work ‘Everything Edited’ (2017).
Knausstraße 19, 14193 Berlin, Germany
Opening: 07.09.2017 | 19-22 hr
Ulrich Vogl will take part in an exhibition in Berlin-Grunewald with Yotta Kippe in the Belle Etage with works by students of the UdK Berlin. Among other works Vogl will show new work titled Hammershoi-Studies from 2017.
Further information available here.
8 – 25 September 2017
Exhibition Opening Thursday 7 September 6 – 8pm
Purdy Hicks Gallery, London is pleased to present Hybrid, a group exhibition including work by Nilbar Gures, Marcia Kure, Alice Maher and Sally Smart. The works exhibited demonstrate visual explorations of hybridization, both through the subject matter and artistic medium.
Further information available here.
Written in Water, Shone in Stone, Lost in Light is comprised of work in various media – installation, painting, digital collage and audio, forming a constellation of thoughts and ideas that relate to perception and awareness. Richard Proffitt is interested in the transition between personally significant events and those that express aspects of a collective consciousness. In the written pieces that form part of Proffitt’s practice, he traces a process whereby thoughts and observations become recurring memories, replete with symbols and metaphorical meaning. Within his drawings, the natural world is transformed into a realm of psychedelic journey in which knots in the bark of a tree can take on a peculiar anthropomorphic appearance and mountains from afar can appear as towering deities.
There are numerous references to gateways, portals and paths, inferring a journey – a personal journey perhaps – or one towards expanding consciousness. In his installation particular materials are imbued with a certain power to act as potential talismans, esoteric objects that help to guide the way and to ward off evil. Proffitt’s work seeks out universally relatable symbols, ideas and attitudes which act as unifying forces within society. The audio aspect of the work forms an important part of the exhibition, encompassing elements of psychedelia, folk, drone and ambient music.
Proffitt considers symbols and allegories that cleave to the collective consciousness, he does this by referencing both myth and folk legends as well as their contemporary counterparts such as alien visitation and abduction narratives. This alludes to a phenomenon whereby popular culture is often assimilated and recounted as personal experience and vice-versa. Within Written in Water, Shone in Stone, Lost in Light, Proffitt works across a number of media, drawing on a wide variety of source material to create a body of work that considers the role of esoteric symbols in both personal and universal experience.
Written in Water, Shone in Stone, Lost in Light will be accompanied by a vinyl LP of 7 songs. The vinyl, titled Ending Time, will be available for purchase at the gallery; the limited edition features 180g vinyl, digital download code, poster, 12 page booklet featuring extra artwork alongside texts by Mary O’Halloran and Michael Hill and is limited to 50 copies. The regular edition features 180g vinyl and digital download code.
Richard Proffitt (Born 1985, Liverpool, UK) Lives and works in Dublin. Recent solo exhibitions include Hold The Candle To Your Eye/Light the Criss-Cross On Your Chest, Sirius Arts Centre, Cork (2016), Wild Cries of Ha-Ha, Kevin Kavanagh, Dublin (2015), Eternal Spirit Canyon, The Joinery, Dublin (2013) and Saguaro, part of BAM BAM BAM, Wolstenholme Creative Space, Liverpool, UK (2011). Selected group exhibitions include Golden Record, Galway Arts Centre, Galway (2017), Ritual Play, Verkstad Konsthall, Norrkoping, Sweden (2016), Between Seeing and Blindness, Tactic, Cork (2015) and A Modern Panarion, The Hugh Lane, Dublin (2014). Proffitt has also taken part in art fairs and residencies including CAVE Art Fair, Liverpool, UK (2012) and Mobile Research Station, Skulpturen Park, Berlin, Germany (2009). Proffitt’s work has also been featured in numerous publications including To Seek Where Shadows Are, Edited by Padraic E. Moore and designed by Peter Maybury to coincide with A Modern Panarion, Dublin City Gallery The Hugh Lane, Dublin.
PERIPHERIES 2017 | SOUL-BEATING
Gorey School of Art | 28 JULY — 5 AUGUST 2017
Robert Armstrong, Kathy Tynan, Diana Copperwhite and Mark Swords will show recent work in a group exhibition titled PERIPHERIES 2017 | SOUL-BEATING alongside work by Susan Connolly, Colin Crotty, Brian O’Doherty, Damien Flood, Paul Hallahan, Mark Joyce, Mark O’Kelly, Ciarán Murphy, Sheila Rennick and Emma Roche. Curated by James Merrigan.
Christina Kennedy, Senior Curator: Head of Collections at the Irish Museum of Modern Art (IMMA) will officially open the exhibition at 7.30pm on Friday 28th July at Gorey School of Art, Mary Ward Lane, Gorey, Co. Wexford.
Image: Robert Armstrong, Valley Obscured, oil on canvas, 40x50cm (2016)
Ireland and the Sea
6th – 10th July,2017
Mick O’Dea will exhibit a series of landscape paintings at the annual Friends of Paxos exhibition titled Ireland and the Sea on the Island of Paxos, Greece.
Irish Wings is a multi-dimensional festival of Irish music, poetry, art and cooking organised on the island of Paxos. The festival explores ways in which artists go beyond disciplinary but also national Geographical constraints, presenting the dialogue of Irish culture with Greece. Irish Ambassador to Greece, Ms Orla O’Hanrahan, will be present at Andy Irvine and Donal Lunny’s bouzouki concert to be held at the Irish Art Exhibition Center, the Old School of Loggos, on Saturday, July 8th.
With thanks to the support of Culture Ireland
More information available here.
Kathy Tynan’s eye for idiosyncrasies and her ability to distil an essence from daily encounters lends her paintings a profundity that is interspersed with self-reflexive humour. Each painting captures a moment in which a feeling or mood prevails. In the making of these paintings, Tynan proffers a world in which chance encounters and oddities are elevated through their representation. In recent work, Tynan has referenced her painting practice as part of a routine and within Laughter in the Blood, the artists own studio becomes the focus of analysis. In this painting the artist’s supplies – turpentine, brushes and ink are laid out on a frugal looking table. A bundle of brushes with split hairs peak tentatively over a laptop. On the monitor a talking head, subtitled in French, speaks of introspection in a spell of melancholy shoegazing. To the right of the table, near the skirting board, a scrunched leaf of paper torn from a ring-bound notebook politely beseeches the studio occupants, ‘please don’t unplug’.
In Clarice Lispector’s mystical novel, The passion according to G.H, the protagonist becomes preoccupied with the interior of her own apartment and remains there for the duration of the story. In her rigorous questioning of every aspect of her immediate reality she begins to dissolve its solid materiality into an array of psychical absurdities. While much of Tynan’s paintings follow a similar tact of dissecting the seemingly mundane, she also references the Brazilian writer directly in her painting, Thick and Black Roots of the Stars, in which Lispector’s words appear scrawled across a wall. In the painting, grey skies loom over a church and its grounds but the focal point is the richly embellished wall. Across its cement surface, alongside Lispector’s lines, there are messages to missing family members, initials in bubble font, proclamations of eternal love and witty quips. On this graffitied wall, marks made by many different hands are presented together in the composition.
Such a device harks toward the latent impulse within people to make a mark, to give visual expression to a thought. This concept crops up time and again in Tynan’s paintings, posing questions on the nature of institutionalised art production and on the divide between various forms of artistic expression. In her paintings, which revel in the colour, texture and surface possibilities of paint, Tynan reflects on inconsistency and imbalance. Her paintings are often witty and playful but also inquisitive – imbued with their own revelatory purpose. Together the paintings in Atonal Supersound converse with and often contradict one another. They exist as counter points reaffirming the idea that meaning is both deduced and created. It is somewhere between these two activities that Tynan’s work gathers its momentum.
Kathy Tynan (b.1984) lives and works in Dublin. She graduated from the National College of Art and Design (NCAD) with a BA in Painting in 2008 and an MA also from NCAD (2010). Recent group exhibitions include Hands Laid On with Aileen Murphy, Kevin Kavanagh, Dublin (2016), There Are Little Kingdoms (2016), Mermaid Arts Centre, Bray, What Is And What Might Be, Highlanes Gallery, Drogheda (2015) and The Sky Is All Changed, Hendrons Collider, Dublin (2014). Tynan’s work is held in public collections including the Office of Public Works as well as private collections in Ireland and abroad.
And Creatures Dream…A New Language
A two-venue show at Wexford County Council and Wexford Arts Centre 3rd July – 25th August 2017
Exhibition Reception: Saturday 1st July at 1.30pm at Wexford County Council, Carricklawn
Followed by a talk at 3.15pm in Wexford Arts Centre, Cornmarket
Guest Speaker: Ruairí O Cuív, Public Arts Manager – Dublin City Council
Robert Armstrong and Aileen Murphy will take part in a group show alongside, Ciaran Bowen, John Busher, Eamonn Carter, Serena Caulfield, Helen Gaynor, Kate Murphy, Rosie O’Gorman, Emma Roche, Breda Stacey, George Warren and Michael Warren. And Creatures Dream…A New Language taken from Susan Stewart’s poem, A Language, explores the relationship of perception to conscious being, to knowing, and to human and aesthetic encounters. Much of the work hints at the instability of perception, which relies on memory – itself an unsafe faculty – and the fragility of the edifice of knowledge.
30 YEARS | ARTISTS | PLACES
Dunamaise Arts Centre, Portlaoise
Dunamaise Arts Centre, Portlaoise is proud to present the finale of the 30 Years Artists Places exhibition, after an extensive national tour, from Monday 10 June to Saturday 15 July. Following an 18-month national tour to venues in Clare, Mayo, Waterford, Cork, Tipperary, Limerick, Cavan, Louth, Dublin and Donegal – the exhibition, curated by Muireann Ní Chonaill, Laois Arts Officer- is a must see at Dunamaise and features an extraordinary line up of Irish artists.
On 29th June at 3pm at Dunamaise Arts Centre, a panel discussion to mark the exhibition, entitled Collecting: Who for What, will be chaired by Cliodhna Ní Anluain with contributions by Cristín Leach, Jacquie Moore, Kevin Kavanagh and Seán Cotter. A musical response to the exhibition by Andreas Balke will also take place.
Admission is free and all are welcome.
Further information available here.
‘As is well known, the word ‘orbit’ refers to a set route or path around a given point: we on earth orbit the sun, just as the moon orbits us. Perhaps less known, though, is that the word is etymologically coupled with a distinct sense of the optical: from a fourteenth century French word for ‘eye socket’. Seeing, in this understanding, is always underscored by a sense of movement or voyaging: when we look at someone or something, we simultaneously tread a track around it. Perhaps we come close to this object, but we don’t get to touch it.’
Extracted from Awkward Angle of Perception, by Rebecca O’Dwyer. Full text available here.
Diana Copperwhite (b. 1969, Ireland) lives and works in Dublin and New York. Recent solo exhibitions include Driven by Distraction, Royal Hibernian Academy, Dublin (2016), Depend on the Morning Sun, Thomas Jaeckal Gallery, New York (2016) and A Million and One Things Under the Sun, Kevin Kavanagh, Dublin (2015). Selected group exhibitions include Last Picture Show w/Mary Heilmann, Chris Ofili, Danny Rolph, Vanessa Jackson, Elio Rodriguez, Jill Levine, Rebecca Smith, Thomas Jaeckel Gallery, New York (2017) and Virtú, inc. Picasso, Giacometti, Henry Moore, Elizabeth Magill and Sean Scully at the Hunt Museum, Limerick, Ireland (2017). Copperwhite’s work is held in numerous public and private collections including: the Irish Museum of Modern Art, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery, Mariehamn Stadbiblioteque, Aland (Finland), Dublin Institute of Technology and The President of Ireland.
Rebecca O’ Dwyer is an Irish art writer, critic, and PhD candidate at National College of Art & Design, Dublin. Her writing has been published in Paper Visual Art Journal, Enclave Review, Frieze, Eyeline, Fallow Media, and the Visual Artists’ New Sheet, amongst others, and she has written catalogue texts for artists including Kathy Tynan, Fergus Feehily and Barbara Knezevic. She is a previous winner of the VAI/DCC Critical Writing Award, and the editor of the online art-writing platform, Response to a Request, which was launched in August 2016.
Thomas Jaeckel Gallery, New York
Opens May 11th
Diana Copperwhite will take place in a group exhibition with Mary Heilmann, Jill Levine, Chris Ofili, Danny Rolf, Rebecca Smith and Elio Rodriguez.
More information available here.
Zephyr, Works on Paper
Claremorris Gallery, Mayo
1 – 6pm, Wednesday to Saturday until May 27th, and then until June 1st by appointment (087) 791 2337.
Maher’s reference points include art history, mythic narrative and, more recently, medical textbooks. Her shape shifting figures call down and mischievously intervene with the oft times problematic representation of the feminine throughout all of these fields. Zephuros was the god of the west wind in Greek mythology, and appears on many archaic world maps, blowing ships off course and keeping civilisation confined to the ‘known world’. In Maher’s watercolour, Zephyr, a giant female figure with covered eyes exhales a storm from her open mouth, like a modern dragon in her yellow swimsuit, while in her hand she holds a mysterious amoeba-like object. This mix of mythic, contemporary and scientific imagery hints at a world of continuous flux, where overlapping elements and intermediate states hold sway.
More information available here.
Rectangle, a written thing, 2017, is presented in four ensembles. These painted works conjure theatrical tropes without motion, containing performative moments within the stasis and composition of painting. Such poles of action and inaction, recurring throughout the installation, are echoed in an accompanying script. This written thing provides a space to situate the work in a critical context by exploring its own real and imagined materiality – and it tells the story of an artist who, in being mistaken for a tree, learns what it is to be expressive.
Sonia Shiel’s work examines her protagonists’ attempts to survive the odds of nature and the illusory world around them, through laws of their own making. Many of her works engage with each other symbiotically or con/sequentially within mixed-media installations, creating surreal narrative sequences. Often taking the form of scripted video, audio and live performances, Shiel’s works synthesise object, image and sound in self-reflexive stories of construction, exploring how real things in the world can simultaneously declare themselves fabrications and yet compel a shared make-believe.
Sonia Shiel is currently the Arts and Humanities’ Artist-in-Residence at UCD for 2017 and a recipient of the DLRCoCo and the Arts Council Visual Artist Awards for 2017. In 2014/2015, she completed the Art & Law Fellowship Program at Fordham Law School, the International Studio & Curatorial Program, in New York, and an artist’s residency at the Irish Museum of Modern Art, Dublin, with Arts Council Project Award support. Recent readings and performances include Temple Bar Gallery and Studios and ArtBox. She has had recent exhibitions at Rua Red, The Crawford Gallery, The Irish Museum of Modern Art, The Lewis Glucksman Gallery and the ISCP, New York, among others. Shiel has been the recipient of the Tony O’Malley and Hennessy Craig Awards, having had solo exhibitions at the Butler Gallery and the RHA Gallery I and II, which included a major publication and a collection of essays. Her work features in many international public and private collections, including the Arts Council, The City of Frankfurt, and the OPW.