Author Archive

Alice Maher

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HYBRID

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 | Richard Proffitt | 10.08 – 09.09 2017

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Opening reception: 6pm Thursday 10.08

Richard Proffitt

Written in Water, Shone in Stone, Lost in Light

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 songsThe 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.

Robert Armstrong, Kathy Tynan, Diana Copperwhite and Mark Swords

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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)

Mick O’Dea

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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.

Atonal Supersound | Kathy Tynan | 06.07 – 05.08 2017

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Atonal Supersound | Kathy Tynan | 06.07 – 05.08 2017

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.