Author Archive

Robert Armstrong and Aileen Murphy

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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.

 

Kevin Kavanagh – Collecting: Who for What

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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.

Crooked Orbit | Diana Copperwhite | 01.06 – 01.07 2017

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Crooked Orbit | Diana Copperwhite | 01.06 – 01.07 2017

‘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.

I kept this double meaning in mind when thinking about Diana Copperwhite’s recent paintings. In this latest exhibition, Crooked Orbit, these are large and at least initially discordant works. It seems as though no colour has been left aside, from lurid fuchsias and cobalt blues, to neon yellow and swatches of minty green. Recurring throughout the canvases, there is also a gradient effect achieved by loading the brush with different shades of paint; and this has a consequence of suggesting that these paintings have almost outgrown the tools of their creation, those tools then being forced to convey, through colour, as much as they possibly can. Sometimes these gradient interventions are vertical and regular; at others, they are less uniform, cast in a halting semi-circle or upturned ‘u’. Throughout, they act to create the impression of space within the paintings: in one, a narrow swathe of grey, pink and white, has the look of an outstretched arm, a slight sag in the middle where the elbow could be; in another, a flat vertical plane of what looks like four gradient drags cuts a dint of architectural space. But, even when working in unison, each of these is just one gesture, loaded to capacity and worked until it dissipates, the paint run out or stopped short from further decline. Representation is at most, never quite; cast as it is though a series of distinct marks, the whole remains fragmentary, gestured towards but never quite pinned down’.

Extracted from Awkward Angle of Perception, by Rebecca O’Dwyer. The full essay will be available at the gallery from June 1st.

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.

Diana Copperwhite

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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.

 

 

Alice Maher

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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.