D w e l l i n g  I n  T i m e   -   Creative Solidarity


A presentation of research from a recent residency on Inis Oírr


The Red Couch Space

August 14th – September 3rd.


Dwelling in Time GUAC



 The title for the residency theme, Dwelling In Time, arose from the collective’s consideration of the essay Creative Intelligence by Fiona Woods that had been commissioned by Ground Up Artists. Through a series of meetings in 2014, this text served as a blueprint to explore the theme of “dwelling” and what it spoke to in terms of a collective practice which connected with the individual interests of the artists involved. The word “dwelling” can suggest place, habitation, or home. As a verb it is more active, in calling up ideas about living, a sense of conscious decision, or staying with whatever is in focus. It also suggests time, reflection and waiting with slow patience. The latter option is one that does not come so easily at this time of ever increasing acceleration, speed and instant gratification, with its intolerance of slow returns.
Entering the second decade of the collective’s existence there is an acceptance of natural rhythms and the knowledge of the true time of reproduction. With that in mind GUAC made the conscious decision to uphold a slow, durational processes, this has been the experience of many of the Ground Up Artist’s practice.
During the residency at Aras Éanna art centre on Inis Oirr, the collective’s presence on the island was strengthened through Ground Up Artist’s involvement with various groups and individuals.  Meeting the layers and significance of language from the social, historical, political and economic perspectives of this Gaeltacht rural area was supported by an interest in building relationships and connections with the local people and community groups. Dwelling in Time has allowed both artists and the island community a chance to open up spaces for reflection, conversation, serious and playful considerations of issues which affect all, on and off the island.
Artists participated in and supported some island community groups while entering into the vernacular of the island through speaking Irish and meeting some of the realities of island life which could be considered in the light of contemporary environments, on the larger island, or “mainland” of Ireland. The considerations of time, and the opportunity of a durational experience offered the participating artists the possibility of encounter.
The collective was joined by groups with specific interests from outside of the island, MA candidates from Social Practice and Creative Environment programme in Limerick’s LSAD, collaborative team Kanelli & Smit from Freysland, and their project, EBB & FLO, was ongoing over ten days.
The Ground Up Artists wish to continue to develop a collective practice into the future. Possibilities for visits to Freysland and further invitations to engage in critical solidarities with communities, who are open to sustained engagement with their rural and agri-cultural concerns, bringing into visibility works which are part of a continuing development of a new rural aesthetic and practices which reflect the radical changes that are as much part   of the rural as they are of the urban[1].







[1] For further reading see Ian Hunter’s Essay: Rethinking The Rural: The Wilder Shores of Contemporary Art. A decade of Country Hits. Jap Sam Books. 2014



http://guac.ie/

Dwelling In Time

Curated by Barry Foley

Barry is a native of Tipperary but has now based himself in the unique landscape of the Burren in Co Clare. He has taken part in numerous exhibitions and has works in Private Collections both in Ireland and Europe, has worked as Exhibitions Curator Assistant at the Limerick City Gallery of Art, under the guidance of Curator Helen Carey and has curated a number of shows in recent years relating to rural community, land and nature.

‘Heritage’ is perceived as this mythical creature, an entity, in a time and a place that exists just beyond our reach. On the face of it, it appears that rural Ireland and her traditions have been lost, irrevocably changed, hastened by time and the recent economic crisis. If you were to look, to engage, you might just find something wonderful but you won’t just stumble upon your heritage. It's there, just waiting to be engaged, to be explored, rediscovered anew and to be shared.'

In conversation with Pat O’Mara, Orchard Manager at Irish Seed Savers.

Our connection with the landscape and all she holds has been a long established historical theme. More recently the various cycles of boom, bust, geopolitics and labour have further highlighted this symbiotic relationship and our growing dependence on the land in a world of ever decreasing resources. GUAC’s recent residency has been the embodiment of such research within a rural community.


A multi-disciplinary exhibition by Audrey O’Brien and Willie Redmond

From July 17 - August 6

Audrey O’Brien presents a new installation and a participatory artwork. The installation comprises sculptures from a previous participatory event ‘Timber Mirror Walk’ 2013 and new work inspired by ‘B Modes’ - twisted patterns of light - believed by many scientists to be evidence of activity at the very beginnings of our Universe.audreyobrien

O’Brien’s work is process-based, and often reflects her interest in primordial structures – in her own words ‘I am driven when spontaneous actions form, beauty in chaos, order in chaos’. Audrey’s recent research has led her to fall in love with an idea, expressed by Jan Tauber, ESA project scientist: “Searching for this unique record of the very early Universe [B Modes] is as difficult as it is exciting…” The work draws on the tools used for capturing such as the telescope and camera as well as the analogue quality of postcards. In an attempt to understand the art, philosophy, psychology and science of capturing, Audrey is issuing an open invite to a collective capturing using her sculptural objects.

 Willie Redmond presents paintings on round format canvasses.The paintings are based on waterway details and the memories associated with such areas.  In these water pieces, the universal of time, memory, light, life, surface, water, the abstract and texture are combined with weather and time changes.    Willie Redmond-Round Ditch,Acrylic on canvas,50 cm dia

Years of observations by fishing, walking and watching such areas are transferred into contemplative pieces strengthened by the round presentations.The canvasses convey the textures, colours and moods of the habitats and the diptych adds to the balance of experience. All kind of weather moods on the water surface can be experienced in his paintings. The waterscapes are compact in size, however reveal themselves in many layers and seasons. Local in subject, universal in outlook.

EVENTS:


Participatory Art Work / Walk – with Audrey O’Brien

This event will run twice, both starting at Courthouse Gallery:

Saturday 18th July @ 11:00am, Adult session - venue: Cliffs of Moher

Note that it is essential that participants have access to a vehicle and are prepared for an outdoor walk along unpaved tracks. The sessions are expected to last up to two hours.

Wednesday 22nd July @ 11:00am – venue: Ennistymon

This session will take place in a child friendly location and is open for everyone.

To book a place on either session please email or phone the Courthouse Gallery.

Limited numbers so please book early to avoid disappointment. Tel: 065 707 1630 or email: This email address is being protected from spambots. You need JavaScript enabled to view it.

This participatory event will be recorded and photographed. By booking a place you will be agreeing to be recorded and photographed.

 

RED COUCH SPACE

‘Segullah - Treasured Possession’ -

New mixed media work, pondering notions of belonging by Ann Vaughan

From July 17 – August 6

Ann Vaughan small

Ann Vaughan is a native of Liscannor, County Clare, and a graduate of CCAM Galway. She works from her Open Studio by the shore in Clahane, Liscannor.

The Mixed Media work in this exhibition is concerned with thoughts of where we belong and who we belong to. “I collect treasure. I seek it out, I dig, I excavate. Of course what I consider treasure might not be of any value to you. Mine comes from the shores around Liscannor Bay, the gems that the tides throw up all smooth and shaped by the battering of the waves, all unique.

“As a Christian I was surprised to find the word Segullah in the Scriptures, meaning Treasured Possession, says Ann. It's the word God uses to describe His people. What a beautiful image!” - "Out of all nations you will be my 'Treasured Possession' is what He said of the Jewish Nation (Exodus 19:5). And now as Christians today this privilege is extended to us. We are His 'Chosen People..(1Peter 2:9). I think that's so great, He values me, not because I'm great or do loads of good stuff, but because I gave my heart to Jesus 25 years ago. He has made me His own”.

Where is your treasure? "For where your treasure is, there your heart will be also." Said by the wisest man who ever lived.

 
An exhibition of new colour lino-cuts by Mike O’Connor [with some photographs and collages].

Official opening on 12th June at 8 pm by John Egan with music by Johnny Moynihan

Mike O’Connor has been making prints in North Clare for over thirty years, mostly landscape images. This show is called ‘The Middle of Nowhere / The Centre of the Universe’. “It seemed to me that they are one and the same. The notion celebrates the growing excitement to be met in the everyday, in farmland, weather, roads – everything”

“I grew up with printing, my father being an engraver and Art-School principal. Although I have a particular fondness for the simple print in black on white paper, I work with colours printed with multiple blocks. This opens out the process to a huge variation of options, images large and small, bright and sombre. More variation comes from the techniques used, some blocks being cut boldly and printed roughly, others cut slowly with detail in fine lines or a scratching method

.blau cow - CopyMy images come from the things and places I see every day. To transmit the excitement from the eye, through the head onto paper is the task. With printmaking, this process is less direct, as a block has to be cut [and maybe one or two more for a richer image], then inked and printed in successive layers onto paper. The process of getting this as one wants is called proofing. The work is printed on an iron Albion press made in 1831, though an extra large print has to be pressed by hand with rollers”.

[caption id="attachment_2265" align="alignright" width="188"]studying how studying how[/caption]

About Printmaking

There is no original that is copied. The print, once cut, proofed and printed, is the original. Made by the artist from the first idea to the finished work. This is the essential difference between a printmaker’s print and a reproduction, which is merely a photograph of an artwork [made in any medium or size] industrially printed - as for a magazine or poster.

Because a print is a multiple, unlike a drawing or a painting, there are more than one. The printmaker limits the number produced in an edition [this might be between 5 and 100]. This means that they are less expensive to buy, and can go home with more than one person, while remaining an original artwork.

As a seminal printmaker, Eric Gill, declared some 80 years ago, these are things, not pictures of things.

Mike O'Connor,the middle of nowhere

 RED COUCH SPACE

‘See’ an exhibition of new works by Mary Fahy.

Official opening 12th June at 8 pm by John Egan

Mary Fahy's upcoming art exhibition 'See', comprises local scenes of Ennistymon.

'I love that I see something new every day around Ennistymon, and familiar scenes evolve in ever-changing light. My attention is drawn to long shadows creeping through these everyday scenes, and the sense of surprise as one turns a corner. The layers of tarmac, footpaths, renovated and derelict buildings all tell tales of those who live here and all who pass through. A truck rounding a corner, or the cast shadow of a passerby stretches into the painting. I love the stories that are woven into these places, each of us with our own personal histories and memories.

Mary Fahy,The Hatchet (Blakes Corner)

These paintings of local scenes in Ennistymon are a way of grounding me in this area. The walls, hedges, gates and winding roads all control our view of the local landscape, keeping us to the edges, and framing our view. I love how the shadows reach across these boundaries, connecting places. The slanting electricity poles and sagging power lines seem to knit the landscape together. Continuing the painting around the edges of the canvas gives a sense of depth and movement for the viewer. I love the conversations that a painting can inspire, and the new references that seem to soak into the image. Come to the show, have a look and tell your story!'

Mary Fahy,Walking through Woodmount'

 
May 8th – June 4th 2015

Opening Reception Friday 8th May at 8pm

Arc of Visibility, a joint exhibition of recent paintings by artists Sara Foust and Cormac O’Leary, opens at Courthouse Gallery, Ennistymon on Friday 8th May.   The artists present complementary perspectives on the texture and atmosphere of the rugged Irish coast, the maritime landscape distilled through memory and the lens of narrative.

Sara Foust,redboatwave

Sara Foust

In a new series of paintings of Liscannor Bay, Sara Foust reflects on the human journey through a chaotic world, struggle and transcendence, surfaces and depths. The artworks are meditations on light and reflection, the broken mirror of the bay, the rough texture of choppy water and rocky coast, and the fragile craft alone and suspended between a world of depths and a hemisphere of sky.

Sara Foust is an artist based in County Clare.  She studied art at Brown University and Rhode Island School of Design in the United States.  She trained with acclaimed muralist Susan Cervantes in San Francisco, California, where she became an established muralist.  Sara has exhibited her artwork in Ireland, France and America, and her paintings are in public and private collections.  A suite of her paintings from the Surfaces/Depths series has been commissioned and installed in University Hospital Limerick this month. 

 

http://www.sarafoust.com/

 

Cormac O'Leary Out of sight, out of mind, Oil on board, 12 x 12 ins

Cormac O’Leary

'My work explores the immediate environment in the Irish northwest,
memory, light and the atmosphere of place all merge in the
final image, built up in tactile layers of paint. I strive to
capture fleeting moments, glimpsed in passing time. Each image
lingers like the visual afterglow of a dream.'
Cormac O'Leary is an artist based in County Leitrim. He studied fine Art at Sligo IT from 1987 to 1991. An award-winning artist, he has exhibited his work widely in Ireland, the UK and America.

www.cormacolearyartist.yolasite.com

 


Red Couch Space


May 8th – June 4th 2015


Opening reception May 8th at 8pm


Postcards from Home is a collaboration between artists and half sisters Sarah Fuller working in Co.Clare and Jessica Fuller, living and working in London. The project is motivated by a shared desire to make work through gift exchange and to communicate with each other in a more intimate and tactile way.

“We never knew each other when I was growing up, but after leaving home we started to write and built a long and lasting correspondence. These postcards are a  continuation of our exchanges in a more visual way.”

Approximately 100 postcards are shown here, made using drawing, water colour, mixed media and collage. The images presented are drawn from the artists immediate environments and show routes to work or walks in the country, found objects from these locations and the stories associated with them.

postcard sarah


Sarah Fuller graduated with a BA Hons in Textile Design at Central St Martins College of Art and Design, London and holds an MA in Visual Arts Practice from IADT, Dublin.

Her work has been exhibited at The Galway Arts Centre, Waterford Arts Centre, The Courthouse Gallery, Ennistymon, The Riverbank Arts Centre and The Glor, Ennis.

Much of her artistic career has been devoted to Dog and String Theatre, creating and performing visual theatre for children’s audiences that has toured nationally and internationally.

postcards jess2002


Jessica Fuller graduated with a first degree Honors BA in Sculpture at Wimbledon School of Art and has collaborated with Helen Sturgess ‘Lost’ Artstride, Southend on Sea. KRF: 2 Artists Notebook Project, Riverbank Arts Centre, 2012. ‘La Tenerezza’, British School of Rome, 2012. She lives and works in Surrey, London.

 


 




ELEMENT poster 2015

The PLC FETAC Art End of Year Exhibition ‘ELEMENT” is to be held at the Courthouse Gallery, Ennistymon. The exhibition will be officially opened on Thursday April 23 at 7pm by Siobhan Mulcahy, Clare Arts Officer. The exhibition will continue for the week running until Thursday April 30.


 This event is held annually to celebrate the emerging artistic talent within the art course.


The Post Leaving Cert courses in Ennistymon Vocational School comprise of a one year multi-disciplinary art programme leading to a FETAC Level 5 Award and a more advanced one year art programme culminating in a FETAC Level 6 Art Award. Students range from school leavers to mature applicants and come from many backgrounds and nationalities.

The course is suitable for those who wish to explore their creativity or pursue an independent art career. Equally the course is designed for people who wish to pursue art at a third level institution and intend to create a portfolio of work.

The exhibition will display a selection of work from the students in a variety of media including painting, sculpture and ceramics.

All are welcome.


 For any queries please contact:


Ennistymon Vocational School 065 7071375 or email This email address is being protected from spambots. You need JavaScript enabled to view it.


The Courthouse Gallery is open from 12 – 4 pm each day.


Also on Monday 27th April, during this exhibition.


Closed on Sunday.

Els Borghart - Fickle - small


  Official opening Saturday 21 March at 4 pm


March 20 - April 16


Between Here and You a joint exhibition by visual artists Els Borghart and Alison Cronin features a selection of works that focus on the fluctuating nature of reality and memory unveiling fleeting glimpses of an in-between space.

Since having moved to Ireland six years ago, Els Borghart’s works involve the questioning of the self while coexisting in two countries, simultaneously activating a sense and a lack of belonging in both. This opens up a void where different realities interact and so creates a potential in-between space. Within this context, her current drawings and paintings focus on the shift in human relationships when moving away from home. They explore an in-between space where all certainties are jeopardized, where human pillars lose solidity and those once unknown or in the periphery gain influence.

The White Cat, Alison Cronin, small

Alison Cronin's work looks into the gap between past and present, between immediate experience and the post-experience narratives we create around our lives. The artist’s fascination with memory stems from her own damaged long term memory from a childhood accident. Her current mixed media works and paintings re-interpret old family photographs, removing the captured moment from its original context. They refer to a movement or crossing of a space such as a bridge, a dive or a journey, depicted on a surface that erodes or fades, and reveals itself to be as unstable as the story it is telling.

Originally from Belgium, Els Borghart has been based in Drogheda, Ireland since 2008. She works as a visual artist and is a founding member, co-director and co-curator with NeXus Arts. She has an MA In Fine Art (LUCA School of Arts –Belgium) and an MA in Cultural Policy & Art Management (University Antwerp Management School – Belgium). She has exhibited both in Belgium and in Ireland.

Alison Cronin is based in West Cork, and is a founding member of Shape artist’s studio, Skibbereen. Alongside her own art practice she works as Schools and Youth Coordinator at Uillinn, West Cork Arts Centre, where she develops art projects with children and young people based on the gallery programme. She has a BA (Hons) in Visual Art (Dublin Institute of Technology Sherkin Island).

 

RED COUCH SPACE

 Life ↔consuming↔Time’, etchings by Corinna Schroeder-vFrihling


wind of time col etch small


Official opening Saturday 21 March at 4 pm


March 20 - April 16 


In this exhibition Corinna offers her views of the mutually consuming relationship between life and time from a variety of perspectives. The prints are made on copper or zinc plates using the techniques of dry-point, aquatint, verni mou, soap-ground and several different engraving tools and acid. No photographic or digital processes were involved.

Each piece is unique and is hand printed in her Doolin studio.

‘The works focus on small things like a leaf on the wind or a spider in its web or bigger events happening in life and time not necessarily to me or today’, Corinna says. ‘That is why some of the works included will be from some years back fitting the theme by title or documenting times gone by’.

Corinna chose to hold this exhibition in the Courthouse Gallery’s first-floor Red Couch area because it is an intimate space where people will be able to sit down and perhaps find a quiet moment for themselves to reflect on the thoughts her work creates.

‘Etching, painting, drawing are my ways to let other people take part in my feelings and visions of the world,’ Corinna says. ‘I think myself a kind of visual story teller. I hope to give people a reason to focus on simple things and deeper thoughts.’

Corinna is of German origin but has lived for nearly 20 years in Doolin, where she works from her own printing studio. Her work has been shown in many solo and group exhibitions in Germany, France, Belgium, Norway, Ireland, Canada and Bulgaria, and her prints can be found in The Americas Biennial Exhibition research archives in the United States. In 2011 she published a book combining wood engravings and poetry titled ‘APHORISMS–aphorisms & wood engravings’.

www.NewIrishArt.com/CorinnaSchroeder-vFrihling

Corinna Schroeder-vFrihling is available for interview.

                                                     ‘Compostela-Field of Stars’


                                            Mixed media works by Marianne Slevin
               The Courthouse Gallery Red Couch Space from February 13 to March 12
                                             Opening: Friday February 13 at 8pm.

Marianne Slevin


Marianne's work features improvisations and explorations of chance in ink and oil paint on various surfaces. They are mainly 2 dimensional drawings, but some found and everyday objects are turned into art objects with her use of ink. The drawings are experimental and made using a combination of chance, intuition and feeling. In some cases Marianne uses the elements such as the wind or a leak in the kitchen window to create the drawings. Other times, she devises games of chance, rolling object that hold meaning for her, like a fortune teller, and drawing around them to reveal a visual map. She often works in ways where she has physically very little control, and the environment she is in, her own body and intuition have a chance to play, rather than the decisions being made only using her head. As the philosopher Alan Watts said, "getting out of one's own way".

 

Imirt Le Do Thoil! (Play Please!)


Nicole Tilley


A multi-disciplinary exhibition by Amanda Jane Graham,Myra Jago and Nicole Tilley. 


                                         Exhibition runs from FEB 13 – MARCH 12 


                                             Opening: Friday February 13 at 8pm


Amanda Jane Graham


Imirt Le Do Thoil (Play Please) is a group exhibition by artists Amanda Jane Graham, Myra Jago and Nicole Tilley, exploring through print, drawing, painting and sculpture recent dramatic shifts within contemporary society and the resultant extreme impact upon childhood experience. The exhibition draws focus on how we, as a society, are witness to the changing physical, emotional, psychological and social development of children and home. Ostensibly an Irish consequence of the Celtic Tiger and its many dreadful planning decisions, we now endure treacherous environments and neighbourhoods to the detriment of much-loved childhood hangouts. Furthermore, challenging the unending upside of new technology, one can’t help but note that it comes at the cost of carefree childhood play. Imirt Le Do Thoil, through the work of these three artists, is purposely low-tech and playful as it examines and highlights the traditions and freedoms of childhood and childhood environments. This exhibition is mischievous, engaging and thought provoking, with the capacity to instigate collective experience and communal concern.

myra jago

Main Gallery


John Hanrahan image


‘VARIANT’ an exhibition of recent work by John Hanrahan

Official opening Friday 16th January at 8 pm

The exhibition runs from January 16th - February 5th                                         

Artists living and working in the West of Ireland face many challenges. To sustain an art practice in a rural environment, it is essential to seek out and engage with fellow artists. I was a founding member of the Ennis Arts Initiative, a former member of the Tulla Stables Studios and I am currently a member of the Ground Up Artists Collective. I have studied and exhibited in Ireland and Australia and my work features in private and public collections.

I am delighted to be exhibiting in the Courthouse Gallery and for this show I wanted to look specifically at data taken from medical/scientific imagery.  I have had a fascination with medical/ scientific imagery since I started to paint, studying Painting in the RTC Galway, now GMIT I would often search out the specimen collection and textbooks from the Zoology Dept. of UCG.

As an artist I was attracted to the objective formal characteristics of medical imagery. The placement and arrangements of grids and text, form a counterpoint to the more anatomical /physiological data.

A primary focus in this body of work was the development of a repetitive process that allowed me to work on several pieces simultaneously. This meant that I engaged with the work on a more intuitive level with each piece triggering a different response. The art of making therefore became part of the thinking process.

John Hanrahan

http://guac.ie/portfolio/john-hanrahan/

                                                     Red Couch Space

michel riand poster

 

‘The Wonders of Clare’ an exhibition of paintings by Michel Riand

Official opening Friday 16th January at 8 pm.

Exhibition runs from 16th January – 5th February 2015

MICHEL RIAND is a self-taught native French artist. Since 2005 he has taken up residence in Ennistymon. While he painted regularly in France, moving to Ireland influenced him to create a range of paintings inspired by the beauty of North Clare sceneries, its people and its wildlife. He thrives in colourful environments which is reflected in his candid representations of simple moments of daily life in the West of Ireland.

You can follow Michel’s work on:

http://www.michelriand.blogspot.ie
[caption id="attachment_1942" align="aligncenter" width="300"]unfold image1 'Clearing' by Rita Duffy (DFP Collection)[/caption]

The Courthouse Gallery, Ennistymon, is proud to have the honour of hosting ‘UNFOLD’ an exhibition of contemporary art from the Office of Public Works and the Department of Finance and Personnel, Northern Ireland, opening November 28th at 8 pm by Minister of State Simon Harris, TD

The 2014 exhibition is a selection of 30 artworks from the public collections, north and south, chosen by nine young curators from the Institute of Technology in Tallaght. This is the first time since 1997, that the OPW has invited curatorial input from the public.

[caption id="attachment_1941" align="aligncenter" width="300"]unfold image2 'Following the Blue Fox' by Jane Locke[/caption]

The OPW has been working in conjunction with the DFP in relation to art exhibitions since 1997 and the joint exhibitions have toured extensively throughout Ireland – to arts centres, libraries, civic offices, colleges and Heritage properties – and to several venues abroad. The artworks included in these exhibitions have mainly been purchased for public buildings located throughout the island. The OPW endeavours to increase public awareness and access to State art through its annual touring exhibitions and catalogues.

The ‘UNFOLD’ exhibition was in RUA RED in August. It then toured to the Sean Hollywood Arts Centre in Newry in September; Stormont Parliament Buildings, Belfast in October; and finishes in The Courthouse Gallery, Ennistymon in December. In conjunction with the exhibition, the Courthouse will be giving guided tours to secondary students in Clare

[caption id="attachment_1951" align="aligncenter" width="300" class=" "]Ellis Jason small 'Luxembourg Rose' by Jason Ellis[/caption]

[caption id="attachment_1952" align="aligncenter" width="300" class=" "]Veronica Nicholson small 'Nature Morte - Road Kills' by Veronica Nicholson[/caption]

Link to the catalogue of 'UNFOLD' the current exhibition of contemporary art of the Office of Public Works and the Department of Finance and Personnel, Northern Ireland in the Courthouse Gallery.


http://www.opw.ie/en/media/Unfold.pdf


https://www.youtube.com/watch?v=HWj3OkejbHU

.A film by Fergus Tighe


The exhibition continues until 8th January 2015.

‘Aperture – Where The Light Gets In’


An exhibition of large and small-scale video installations by Shelagh Honan.
Official opening by Maria Finucane of Limerick School of Art and Design
on Friday
17th October at 8 pm
Exhibition runs from 17 October to 12 November

http://vimeo.com/shelaghhonan/aperture-overview

A body of work that’s rooted in time, history and place and brought to life through the media of video installation forms the basis for an exciting new exhibition that opens in the Courthouse Gallery in Ennistymon, Co Clare on Friday, October 17.
The exhibition is the work of Ennis-based artist Shelagh Honan in a show that has been conceived especially for the Courthouse Gallery and features a series of large and small-scale video installations and visual imagery.
The inspiration for the exhibition is drawn from a range of contrasting sites, stories, histories and objects that have found their way in to the artist’s studio. Places like Ennistymon and Coole Park and their associated narratives are intertwined and woven to create a series of short video pieces that hover between the realms of fact and fiction.
In ‘Wood From The Trees’ a video from the woodlands in Coole Park is projected onto a bowler hat which rests inside a display cabinet reminding us of the unfathomable histories of the woods, the house and those that inhabited these places.
Two video projections occupy the main gallery space, suspended on to large canvas backdrops. These feature a young woman who appears to float timelessly through the rooms of a large Georgian house, while on a separate canvass we see her plunge deep into uncertain waters before drifting out to sea.
This story is continued through another prism, within two copper domes, fixed to the wall. Here we see yet another aspect to the story - as she now appears to drift across old lace christening gowns.
‘Aperture – Where The Light Gets In’ is an exhibition unique to the Courthouse Gallery, as it presents a series of installations that have been tailored and designed specifically with the space in mind.
Shelagh Honan MA, is a graduate of Limerick School of Art and Design where she completed her undergraduate degree in sculpture, while she completed a master’s degree in interactive media at the University of Limerick.
Ms Honan has been a full-time practicing artist for 20 years and is also a part-time lecturer at Limerick School of Art and Design. She has recently curated a series of multimedia exhibitions and has also recently shown in The Fullbright Centre in Philadelphia. Her practice is based at the Tulla Stables Studios.
Ms Honan is available for interview.
Contact details:  Email – This email address is being protected from spambots. You need JavaScript enabled to view it. Phone – 087-2207567

ShelaghHonan image small

Judy O’Sullivan at the Red Couch Space


‘Return’ is an installation of drawings, prints and mixed media work on paper, canvas and wood by Clare based artist Judy O’Sullivan , Friday, 17h October at 8 pm.
Exhibition runs from 17 October to 12 November

https://www.youtube.com/watch?v=ocqA8jgNYfM&feature=youtu.be

Focusing on the interior of what used to be her family home, a small street house now standing empty, Judy O’Sullivan explores the Japanese idea, ‘mono no aware’, literally ‘the pathos of things’, the awareness of their impermanence and transience and the wistfulness of their passing.

Through a process of photographic documentation followed by a combination of drawing, painting and print she explores familiar often overlooked spaces of everyday life. Emptied of everyday life they acquire a different character. What is left? The unseen imprint of lives lived.

‘And the end of all our exploring
Will be to arrive where we started
And know the place for the first time’

T.S Eliot The Four Quartets

judy image

'New Paintings and Some Drawings' 
by Samuel Walsh
Opening Saturday, August 9th, 2014 @ 4 pm
August 9 - September 4 181. Hiems V, 2012 The word ‘new’ in the title of this exhibition might happily be replaced with the word ‘newish’ except that the latter has an awkwardness that doesn’t fit with my way of thinking. The fact is that not all the paintings in this show are ‘new’ and the ‘new’ refers to what has become an established, stylistic consistency in the making of my art since about 2006. I have, for the first time in many years found a formula in which to lay down structure, line and colour in arrangements that reflect my observation of the world as I move through it and note its many variations and permutations.


These observations are not long studied examinations of situations. They are glances, glimpses, the edges and the ends of things, quick sightings of the world in very much the same way as most of us move through the places and spaces that make up our everyday experience. The difference is that I make a note of these experiences and consider turning them into something other than a memory. I make them into a story, a personal story that is unique to me and presents itself as a work of art. This is both the joy and the burden of being an artist; the ethical responsibility to see the world in a particular way and to document it in such a fashion that it can be universally experienced. The universality of art is not that it is the same to everyone but that each person sees it differently and therefore can experience that work of art exclusively to themselves sometimes shared using what is called language. Sometimes we see things the same; this is to be welcomed, but there are often subtle differences within that sameness. This way of looking at art and recognising it has been with us for many thousands of years but we live in an age of immediacy so we often confuse identification with understanding and ask the meaning of art where there is none or in some cases too much. These paintings (drawings, studies) do not mean anything other than what you see in them. They are square (there are two exceptions here), coloured and have linear elements. The colours come from observations but may change in the making of an individual work and the linear elements come from drawings made in situ of any number of things. Sometimes the paintings come from a passage in a book, an idea I might have about the world, a note made from an old master painting or a simple observation on my part, but mostly they come from just looking around me at what is going on or in some cases what is not going on. My work is often called abstract but I don’t see it like that. To me it is more like a new reality, a different reality and that turning a blank canvas into the illusion of a vase of flowers with the use of earth and mineral pigments and the hairs of a Chinese pig is real abstraction! We all see the world differently which makes our individual worlds unique to ourselves. I just happen to have a process by which I can share that individuality with a larger audience. Samuel Walsh, Cloonlara, Co Clare, June-July 2014 https://ssl.gstatic.com/ui/v1/icons/mail/images/cleardot.gif

Piecing and Sorting by Mollie Douthit


DouthitRedcouch



Courthouse Gallery Red Couch Space
9th of August-4th of September
Opening reception 9th August @ 4pm

The Ennistymon Courthouse Gallery and Mollie Douthit invite you to attend Piecing and Sorting, an exhibition in the red couch space opening on 9th of August at 4pm. The exhibition runs 9th August- 4th of September and features oil paintings and gouache on paper. Douthit’s practice entails sitting with and looking at objects, relaying what is viewed with paint or drawing materials. Featured in this exhibition are paintings of small food items that are personal reminders of people and places. Douthit values how the description of an object can be achieved through direct fresh mark making. The opacity of gouache encourages immediacy with material once it touches paper, marks left emulate what is being viewed immediately. The oil paintings are equally as demanding in their presence but begin to consider the space where the objects exist. The items are trapped within a new dimension of paint and no longer absent of that space, as in the works on paper. These works are meant to be an investigation of the colour and form of these objects, while enjoying the physical traits of something nostalgic, considering how it exists when it becomes something that is only to be viewed.


. For further information on Douthit visit www.molliedouthit.com

dbt_retrospective


 D.B.Twohigk 1946 - 2009, artist, sculptor, poet, thinker was born in Dublin, spending much of his professional career based in Co. Clare. A graduate of the National College of Art and a prolific artist of immense talent, his body of work spans 40 years, 25 from his studio home in The Old Schoolhouse, Gortbofarna, Inagh. Known primarily for his public stone carved sculptures but never limited to a specific style or medium, Twohigk was deeply embedded in an artistic exploration of daily routines, customs and the rituals of everyday life. Drawing inspiration from many sources such as local landscapes, people and his environment, his later work was concerned with a self examination and social examination with the human figure portrayed in all its human sensibilities, to use his own words ‘being part of innumerable forces in space, matter, motion and light.’ Inspired also by the philosophical writings of Heidegger and Husserl, his artworks distilled ideas and experiences to reveal their poetic essence and in a way to render visible the hidden truths and meanings in even the smallest of life’s actions.


Main Gallery & RED COUCH SPACE SEP 13– OCT 9


D.B Twohig, Man on Bicycle

 
From June 6 – July 3

Official opening Friday 6th June at 8 pm

There is an intrinsic harmony which unites to works of Jane Seymour, Vivienne Bogan, Nicola Henley, and Kathryna Cuschieri, four artists living and working in East Clare. The huge skies, the rugged terrain and the seas energy informs much of their art but for each this physical experience is just the infrastructure on which they explore the deeper, often profound and spiritual dimensions of self.

They have worked together on various arts projects in the area over the past seven years. They share a deep rapport and understanding of each other’s work. Together they are exploring the dynamics of the four elements, earth, air, fire, and water, aspects which much inform their art already.

Jane Seymour

Clay from the earth, shaped with water, dried in air and given to fire, the combined elements which Jane Seymour relies on for the creation and completion of her large ceramic vessels. The crows which congregate in places along the sea are currently the inspiration for her work at the moment as is her ongoing interest in the human form

Her large ceramic bowls and free standing forms are her canvases on which she etches and paints figures and birds, using oxides. These are fired a number of times, each piece sanded and worked on between each firing. Her smoke-fired vessels are often wrapped in seaweed to allow the minerals and salt to effect the smoke patterns previously created.

Jane's work has been exhibited widely in major exhibitions both in Ireland and the UK. She grew up on the marshlands of Suffolk and the hills of West Wales. She has been living in East Clare since 1994 where she has her ceramic studio.

Vivienne Bogan

It is the deep, embracing, and passionate nature of Mother Earth,,matter,,clay and its multitudes of colours, textures and energies that informs the recent works of Vivienne Bogan. Moving away from her explorations of flight and man’s desire to fly she is revisiting her interest in the connection between the raw basic nature of the earth we depend on, human emotions and our inner being.

Working mostly with paints, pastels, inks, etc. on paper, Vivienne's paintings also examines '    Matter ', a substance that produces something else', the bringer of life. She explores the soft, pliant and impressionable nature of the Matrix, living and surviving in a universe of rock and fire. Much as the human body does, both originators and store houses of the emotions

Vivienne is a graduate of the Limerick College of Art, the city she is originally from. She has traveled extensively returning some years ago to live in East Clare where she has her studio. Her work has been exhibited in many solo and group shows both here in Ireland and abroad and are included in   major national collections

Nicola Henley, Gulls Soaring (detail2) small2

Inspired by the forces of nature and the elements Nicola Henley's particular interest is birds, their freedom of movement and how they interact with the landscape. She is also greatly drawn to the huge energy of the ever changing sea and the sky. She aims to draw our attention to the delicate balance of nature and the interdependence and connections between us and our environment

Her works on textiles are made by the combining of dying, painting and screen printing on cotton calico and texturing the surface by stitching and other methods.                                                                                                                                                                               Drawing from nature is important to her process of catching the essence of birds in their natural environment and then transferring these images to fabrics back in her studio

A graduate of Goldsmith College, London, Nicola has exhibited widely here, in the UK, Japan Australia and the USA. Born in Bristol she moved to East Clare in 1991.

Her recent works have been influenced by her regular visits to Australia where the light, colours, sounds and smells are so vibrant in contrast to the subtlety of her East Clare environs.

Kathryna Cuschieri, grey dress,small

Kathryna Cuschieri work draws it inspiration from the elemental nature of our lives and how this informs our dreamscapes which in turn effects the quality of our daily experiences. Perceiving the world from the view point of each elements energetic quality allows for the dialogue that enhances, inspires and expresses itself in her work.

At this time she is delving deeply into the nourishing and enlightening qualities and aspects of fire – Luminosity. From the physical handling of glass at seriously high temperatures in her kiln to the study of ravens as symbols of luminous knowledge and wisdom.

Kathryna was born in Malta, moved to England in 1976 and then to Ireland in 1993. She has had several exhibitions, solo and collectively, both here and in the UK.

She is currently working on a major commission for Clare County Council, creating a steel and glass installation for the Revenue Offices in Ennis.
From June 6 – July 3, 2014 

Official opening Friday 6th June at 8 pm              

DSC04912  Marje O’Brien’s work is a cohesive body of drawings in which she attempts to describe emotions familiar to us all. Marje says:“It’s imagery has evolved over many years though it has remained consistent. The form is one of two beginnings with a body between them. The beginnings represent individuals and the body is their relationship. We all need relationships, what occurs between the two beginnings are visual metaphors for what we experience in life. The joy and sorrow, ebb and flow, balance and fragility of emotion is my inspiration

.DSC04908

I returned to drawing as my primary method of art making in response to a huge studio space. There, the sensuality of drawing on newsprint (something which every art student tries to move beyond as quickly as possible) overwhelmed me.

Newsprint is generous and forgiving, but demands respect for its fragility. It has a major input into my work from the first mark I make.  It’s potential to continue to develop and interfere with my drawing long after I have reached completion affects me deeply, much as a past relationship leaves its mark or stains on each one of us.  The high acid content of the paper causes it to ripen as it ages.  It can be controlled, if treated -as a precocious child or a precious unstable watercolour painting, but that would defeat the purpose of my making the drawing.

The fragile unstable nature of newsprint speaks loudly for me about a fickle transitory emotion, one of love or heart aching sadness.”   DSC04907
MAIN GALLERY

‘Luxury Goods’ a mixed media installation by Sue Morris

Official opening Friday 2nd May at 8 pm

Show runs until 29th May

Sue Morris, Luxury goods

 ‘Luxury Goods’ is a mixed media installation comprising of floor and wall pieces using familiar household materials and ephemera in alternative mise-en-scenes. In this new body of work, Morris inverts notions of domestic necessity and luxury in the context of the public rhetoric of austerity.


Sue Morris is a contemporary visual artist from London and has practised in Ireland since 1992.  She has exhibited in Ireland, the UK, the USA and, most recently, in Vienna as part of the International Cultural Programme for Ireland’s Presidency of the EU.


 

RED COUCH SPACE

Ennistymon; Place and Space -

An exhibition of paintings by Tracy Fitzgerald

 Garage, Fitzgerald, 1014, oil on board 21 x 21cm


The theme of the exhibition is Ennistymon; Place and Space. Fitzgerald has been stalking Ennistymon for a while now in preparation. She has been gathering images from the Internet, visiting Ennistymon and chatting with locals to gain inspiration to translate into paintings.

Fitzgerald’s interest is in those quieter, often uncelebrated spaces, which, while small and utterly un-famous, sit at the heart of our personal realities. These, she may balance against aspirational images and monumental architecture. See a playground, a kitchen, a scrap of floral fabric… She brings warmth and humanity to her paintings, and they invite us to come in, stay a while, and leave refreshed and somehow enriched by the experience.

What the artist says: “My focus is on the contradictions in everyday life: boom and bust, aspirational and actual, place and non-place, public and private.”

“Text courtesy of Artfetch.com

http://artfetch.com/pages/tracy-fitzgerald

SOURCE – FETAC art exhibition from 10 April – 24 April


FETAC 2014 poster
The Ennistymon Vocational School Exhibition (FETAC Level 5 & 6) will be running from April 10th to April 24th. The exhibition sheds light on the creative processes of the current students. The variety and exploration of the media and subject matter is explored through Drawing, Painting, Ceramics, Sculpture and Installations. These unite to make an exciting body of work.
 In the Main Gallery & Red Couch Space from July 11 – August 1

 ‘FICTITIOUS REALITIES’ -  a group exhibition with artists:

Carolyn Wall - ceramist

Diane Reid - ceramist

Sinead O'Connell - ceramist

Emma Donaldson – mixed media, sculpture

Betty Gannon - drawing

The title for the exhibition 'Fictitious Realities' came from themes that the five artists use in their work, some of these themes are: memory, storytelling, fictional worlds, decay and change, past and present, and the way the body is a fleeting thing.

Carolyn Wall Originally from Yorkshire and spending her formative years in Bath she moved to the west of Ireland in 1980. She graduated from GMIT in 2009 achieving an honours degree in fine Art specialising in ceramics. Carolyn Wall new imageHer work is centered round an exploration into her female lineage and the concept of presence in absence. The materials she works with are porcelain/flax slip and clay, cotton thread for knitting and lace.  The transformation of the materials in the kiln is used to explore the transformative qualities of experience and emotion.  The cotton thread and lace disintegrate during the firing process providing a material metaphor for presence in absence.  Roses and spirals are also ongoing in her work

Diane Reid Based in Kinvara, Co Galway, studied Art in both Limerick and Galway and has a Fine Art Honours degree in ceramics. She has exhibited in many group shows in Ireland and works in both porcelain and on paper. Diane reid new imageHer current work is a visual exploration into the individual and elusive nature of early memory, the child's non-verbal world seen as possessing a dramatic and deeply felt integrity sometimes interpreted as fanciful or fictitious from an adult perspective

Sinead O'Connell lives and works on the Galway/Clare boarder. She uses clay as a means to express biography through allegory using animal and human imagery. Sinead OConnell, nest and branch

“When we suffer anguish we return to early childhood because that is the period in which we first learnt to suffer the experience of total loss. It was more than that. It was the period in which we suffered more total losses than in all the rest of our life put together.” ― John Berger

Emma Donaldson – mixed media, sculptureEmma_Donaldson

Emma Donaldson works with memories of experiences belonging in the past, slipping into the consciousness of the present.  These short-lived events provide the material and impetus to dismantle thought and bring it toward substance. Test projects examined the momentary and immaterial in writings about repeat daily walks that were presented on gallery walls.  Watercolours help hold qualities of thought and lead to experimental objects referencing the body with low-key, usually domestic material: stained cotton, painted paper-mache and gloss.

Emma Donaldson (born, Belfast,lives in Armagh) studied Painting at Wimbledon School of Art, Royal College of Art, Graduate School of The University of Houston and Histories and Theories at the Architectural Association in London.  Her mixed media practice incorporates drawing, writing presented visually, The Light Project and more recently object making.  She has exhibited in the US, UAE, Europe and UK; recent exhibitions have included trouble = progress at MCAC, 2013 Portadown, Futures ’13, RHA, 2013, Dublin and The Past is Unpredictable at F.E. McWilliam Gallery & Studio’s, 2014, Banbridge.  Forthcoming exhibitions include Palimpsest, Golden Thread Gallery, Belfast, Solstice Arts Centre, Navan, Museum of St Albans, England, Butler Gallery, Kilkenny, The Dock, Carrick on Shannon.

Betty Gannon Lives and works in Westport Co Mayo, mainly working in drawing, painting, and photography. She has exhibited nationally and internationally with solo and group shows

. Betty Gannon,Fray & Fragment2

Her drawings made with india ink and a mapping pen explore decay and change in our surroundings from exposure to the elements and human activity. Her interest in the inevitable process entropy – of things breaking down or wearing out – is the fact that something new has to happen, a change takes place, something is replaced, repaired, or just abandoned, and in the process our attention is dawn to the physical impressions of use that we left behind. www.bettygannon.com
OVERWORLDS – New Work by Ailbhe Barrett and Joan Sugrue

March 14 – April 10  Opening Friday, March 14 @ 7pm


                 OLYMPUS DIGITAL CAMERA

Ailbhe Barrett  

For the past number of years I have been gathering an on-going collection of studies of skyscapes in the surrounding area – sketches, photographs, video and written descriptions – and as a result of these, have been working on a series of oil paintings, drawings and etchings where this “cape” is strongly present.  It often seems that perhaps this protective and life-nurturing shield has a more pronounced presence on us during the dormant season; the stillness of the winter period has a thought provoking, centring effect, while nature takes its rest and gathers energy for the coming seasons.

Colour, mood and composition are central to this series of works, as is the interconnection between them. Many of these images feature, on the low horizon, silhouettes and shapes of human activity and built structures: juxtaposed against the fluid colours above, they are both comforting and threatening.

sugrue-hide

Joan Sugrue

My work looks at our perception of space, place and time. I am interested in what happens when one or more of these elements are not completely in sync, or exist as different forms which may overlap or interfere with each other. What could happen if two or more places exist in the same space, or if time could be stretched one way or another?  The philosopher Michel Foucault describes heterotopias as places and spaces that function in non-hegemonic conditions. These are spaces of otherness, which are neither here nor there, that are simultaneously physical and mental, such as the space of phone call or the moment when you see yourself in the mirror.

I am particularly interested in the heterotopias of time and space. Heterotopias of time (such as museums which enclose in one place objects from all times and styles) exist in time but also exist outside of time because they are built and preserved to physically insusceptible to time’s ravages. Heterotopias of space function in that they can allow two spaces to exist in the same place (such as a garden with plants from different areas of the world) and they function in relation to the creation of a space of illusion that exposes every real space, and of compensation, which is to create a real space – a space that is other.

I tend to use real spaces as a basis from which my work can evolve. By using material gathered from historical records for example I seek to construct an alternative or imagined reality. One of the current strands that I am examining is using early original glass plate negative images as source material. I primarily use drawing and paint as a medium for my work but also include other visual media including video and installation.

RED COUCH SPACE


CRANK – Paintings by Peter Dunne     Opening Friday March 14 @ 7 pm 

Peter Dunne 

Peter Dunne is a Dublin born artist living in London who has made a reputation for himself on the urban contemporary art scene. His work contains a strong social comment combined with wit and humour painted in a social realistic style. In 2011 he launched a direct action against corporate greed with his Anti-Greed-Giveaway in the financial heart of the City of London. He gave away 300 original paintings highlighting the banking crisis. All the work went in an hour and a half but not one single banker would avail of a free painting. The video can be seen on ‘YouTube’.

 
On the Edge of a Blue Sky is a multi-disciplinary exhibition by Fiona Kelly and Lorraine Walsh.  The artists' enquiry into abandoned and waste ground opens a conversation which considers the legacy and also the potential of these increasingly familiar environments.

[caption id="attachment_1360" align="aligncenter" width="300"]Lorraine Walsh:  Oil on Canvas, 60cm x 50cm, 2013 Lorraine Walsh:
Oil on Canvas, 60cm x 50cm, 2013[/caption]

[caption id="attachment_1358" align="aligncenter" width="293"]Fiona Kelly:   Etched Lino Cut, 71cm x 71cm, 2013 Fiona Kelly:
Etched Lino Cut, 71cm x 71cm, 2013[/caption]

Kelly's observations of the manmade landscape, topographic movement, stagnation and metamorphosing debris are representations, characters for her contemporary fables; a legacy of longing, disposability and escape.  Using print, reclaimed materials and text she invites the viewer to join in a fundamental dialogue intrinsic to Fiona Kelly’s work which quietly speaks of urban sprawl, throwaway culture, and the absurdities found in unremarkable environments.

[caption id="attachment_1359" align="aligncenter" width="300"]Fiona Kelly:   Etched Lino Cut, 55cm x 68cm, 2013. Fiona Kelly:
Etched Lino Cut, 55cm x 68cm, 2013.[/caption]

Lorraine Walsh discovers strange enclosures of manmade wilderness in her observations of derelict and vacant ground.  Using the particular qualities of paint and found materials the artist scavenges from the abandoned traces of previous human activity she finds along with a perception of a nature that is wild and sometimes dark to make the work.  Interested in what lies beneath the surface of everyday life  Walsh invites the viewer to small islands of escape or gaps in the system from where we might begin to see the world differently.

[caption id="attachment_1361" align="aligncenter" width="215"]Lorraine Walsh:  Oil on Canvas, 25cm x 35cm, 2013. Lorraine Walsh:
Oil on Canvas, 25cm x 35cm, 2013.[/caption]

 http://lorrainewalshwork.wordpress.com/

IN THE RED COUCH SPACE

“Imram” New Paintings by Josephine Geaney

 ‘In the Celtic tradition, warriors and monks undertook incredible journeys of imagination and spirit. The Journey to the eternal, invisible world was called the imram.’(John O’Donohue, “Divine Beauty, The Invisible Embrace”)

 The exhibition “Imram” features sculptures made from bog oak, printed decayed canvas, and ashes, accompanied by paintings using images of boats crossing through boundaries to approach new partially visible dimensions. The idea behind this work is her curiosity of the life cycle and the life/death journey representing the fragmented and vulnerable state of the human condition.

[caption id="attachment_1364" align="aligncenter" width="300"]Josephine Geaney, Emram Imram, Josephine Geaney[/caption]

Josephine’s work is autobiographical, allowing the viewer into her unconscious world of memory, experience and curiosity, using many mediums, such as digital imagery, sculpture, print and mixed media although her critical engagement is with paint, pushing its possibilities, constantly experimenting with new techniques and outcomes, manipulating the paint in order to capture light conveying an intended sense of atmosphere and mystery, drawing the viewer into the work, challenging them to look closely in order to add their own narrative and emotion to it.

The subject matter of her work varies from landscapes to figurative, using boundaries to express emotion, mood and narrative. Her paintings are realistic and yet abstract, playing with the idea of the visible and invisible, the real and unreal.

Emran 2

For more information : http://josephinegeaneyartist.com/

Exhibitions continue until March 6th 2014

 
AUG 8– SEP 4 

 ‘New Paintings and Some Drawings’ by Samuel Walsh

Official opening by Dr Hugh Maguire, Director, The Hunt Museum, Limerick 

on Saturday, 9th August, at 4pm

181. Hiems V, 2012

Hiems V’, Acrylic/oil/canvas,100x100xcms, 2012.

The word ‘new’ in the title of this exhibition might happily be replaced with the word ‘newish’ except that the latter has an awkwardness that doesn’t fit with my way of thinking. The fact is that not all the paintings in this show are ‘new’ and the ‘new’ refers to what has become an established, stylistic consistency in the making of my art since about 2006. I have, for the first time in many years found a formula in which to lay down structure, line and colour in arrangements that reflect my observation of the world as I move through it and note its many variations and permutations.

These observations are not long studied examinations of situations. They are glances, glimpses, the edges and the ends of things, quick sightings of the world in very much the same way as most of us move through the places and spaces that make up our everyday experience. The difference is that I make a note of these experiences and consider turning them into something other than a memory. I make them into a story, a personal story that is unique to me and presents itself as a work of art. This is both the joy and the burden of being an artist; the ethical responsibility to see the world in a particular way and to document it in such a fashion that it can be universally experienced. The universality of art is not that it is the same to everyone but that each person sees it differently and therefore can experience that work of art exclusively to themselves sometimes shared using what is called language. Sometimes we see things the same; this is to be welcomed, but there are often subtle differences within that sameness. This way of looking at art and recognising it has been with us for many thousands of years but we live in an age of immediacy so we often confuse identification with understanding and ask the meaning of art where there is none or in some cases too much.

These paintings (drawings, studies) do not mean anything other than what you see in them. They are square (there are two exceptions here), coloured and have linear elements. The colours come from observations but may change in the making of an individual work and the linear elements come from drawings made in situ of any number of things. Sometimes the paintings come from a passage in a book, an idea I might have about the world, a note made from an old master painting or a simple observation on my part, but mostly they come from just looking around me at what is going on or in some cases what is not going on.

My work is often called abstract but I don’t see it like that. To me it is more like a new reality, a different reality and that turning a blank canvas into the illusion of a vase of flowers with the use of earth and mineral pigments and the hairs of a Chinese pig is real abstraction!

 

We all see the world differently which makes our individual worlds unique to ourselves. I just happen to have a process by which I can share that individuality with a larger audience. Samuel Walsh, Cloonlara, Co Clare, June-July 2014

Samuel Walsh. was born in Wimbledon, London in 1951. Both his parents were Irish: his mother from Limerick, his father from Ennis. He was educated in London until 1968 and also in Limerick at Villiers Secondary School. Initially he lived in Limerick but since 1990 has lived and worked in Co Clare where he has a studio. He studied at the Limerick School of Art and subsequently took an MA in Fine Art (Painting) at the National College of Art & Design, Dublin. He also holds a NUI Diploma in Philosophy from Mary Immaculate College, Limerick. He was elected a member of Aosdána in 1997 and served as a Toscaireacht from 2007-2009. He is the founder of the National Collection of Contemporary Drawing that hangs in the Limerick City Gallery of Art. He is in the words of Róisin Kennedy of the National Gallery of Ireland: ‘…one of the country’s leading exponents of abstract art…’ 

www.samuelwalsh.com

RED COUCH SPACE

AUG 8– SEP 4 

‘Sorting and Piecing’ by Mollie Douthit 

Official opening on Saturday, 9th August, at 4pm

DouthitRedcouch

The exhibition runs 9th August- 4th of September and features oil paintings and gouache on paper. Douthit’s practice entails sitting with and looking at objects, relaying what is viewed with paint or drawing materials. Featured in this exhibition are paintings of small food items that are personal reminders of  people and places. Douthit values how the discription of an object can be achieved through direct fresh mark making. The opacity of gouache encourages immediacy with material once it touches paper, marks left emulate what is being viewed immediately. The oil paintings are equally as demanding in their presence but begin to consider the space where the objects exist. The items are trapped within a new dimension of paint and no longer absent of that space, as in the works on paper. These works are meant to be an investigation of the colour and form of these objects, while  enjoying the physical traits of something nostalgic, considering how it exists when it becomes something that is only to be viewed.

Mollie Douthit (b. 1986, Grand Forks, ND)

2009 BFA University of North Dakota

2011 Post Bac Certificate, Museum of Fine Arts, Boston

2014 MFA Burren College of Art, Ballyvaughan, Ireland

Douthit’s work has been featured in the 2013 MFA edition of New American Paintings, MFA, Boston Medal Award Auction, RDS Student Art Awards exhibition, as well as the Saatchi gallery in London. Douthit exhibited in the 2013 RHA Annual Exhibition and received the Hennessy Craig Award. In February 2014 Douthit was featured in Saatchi Art’s Invest in Art series.

Starting in September Douthit will begin the Tony O’Malley residency in Kilkenny, and has been selected for a solo exhibition in the Ashford gallery space at the RHA, Dublin.

 For further information on Douthit visit www.molliedouthit.com

 
‘Traces’ by Robert Dunne and Cormac O’Neill

Official opening on Saturday 11th January at 4 pm 

passage Robert Dunne after kant Robert Dunne

Robert Dunne's work is mainly about growing up in a small mining village in north Kilkenny. It explores issues about identity and the uncertainty which comes with it. Robert’s work incorporates drawing, painting and sculpture. The starting point is always drawing, and this involves layering and then taking elements away; work is exposed and layered again, the ideas which emerge from these drawings can sometimes be developed into other media.

Robert has created a site specific piece especially for this show, the piece involved working with schools kids from Kilkenny and Ennistymon, to create brown paper bag houses, which will be on show en masse, and this piece is about hiding and exposing parts of one’s identity.

Robert Dunne was educated in the USA and Ireland. Since the 1990s he has been exhibiting in a number of group- and solo shows.

b.  First dynasty of dreams Cormac O'Neill untitled small Cormac O'Neill

Cormac O’Neill is a painter. His painting is intuitive and expressive. It is a restless engagement with coherence. The work maintains a record of its own history as a series of tentative sallies and failures towards an intuition or idea.

The works combine abstract marks, text and at times mechanically reproduced images. These images reflect sometimes on the bombardment of images and the difficulty of objective history. Sometimes they reflect on the fact of these images in their banality and ubiquity. The text is used to amplify the echo of some of the difficulties we meet in our contemporary encounters with the symbolic.

Inspired by Eastern and Western philosophical thought and poetry Cormac makes images which draw from our current presence in the world and resonate with the universal.

The show runs until February 1st

IN THE RED COUCH SPACE

 'Who Am I?' – a series of self-portrait paintings by Kris T. Verenga

Official opening on Saturday 11th January at 4 pm with Anu Day

Kris T  Verenga hidden radiance small threeheaded cobra small Kris T. Verenga

 The question 'Who Am I' is a provocative one and a question that the artist has been addressing as a life pursuit. It is first a spiritual question of origin, looking at the source of consciousness, ego, and self. And secondly it has been a question for the artists' work. How does this get expressed through painting and creativity

 Kris T. Verenga says about the process: “The investigation of 'Self', manifesting as a series of 'Self'-portraits began the winter of 2011. At first it was a distraction from bleak days and nights and then became a tool for the 'outsider' to go deeper into the vessel of the human form as a philosophical search and as a practice for fine tuning the eye, and refining  drawing and compositional skills.  It began to read as a storyboard of characters reflected through still images, a Dickensian winter drama”.

She continues: “I began by setting up scenes and placing her form on the set, photographing the moment using tripod and remote. The process began as a candid look, no artificial distractions like expectations of beauty or lack there of.

One begins to look with detachment at the form, without judgement. This in itself delivers an emotional adjustment of acceptance. The process evolved from strictly straight forward 'seeing' to a more elaborate development which illustrated mental constructs, visual turns, narrative twists and bent images.

Approaching year two of this examination, the portrait settles, there is less literal interpretation, the images disperse into emptier space and drift into abstraction”.

For more information: http://www.kristyverenga.com

 
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 Trasna IV opening and Christmas Party in the Courthouse Gallery


Thursday 28th November at 7 pm


On 28th November we will open the doors for our fourth Trasna exhibition “Trasna IV” in the main gallery of the Courthouse. This is our annual exhibition which allows both established and emerging artists to show their work.

Trasna was started by Marie Connole and Maeve Collins 4 years ago, as part of the Christmas show titled 'HAS BEEN + IS GOING', which they curated at that time. Trasna was a big success and has continued to be ever since. Every year seems better than the last. This year we have a submission of over 200 original art works.

Special thanks to Steve Mathieson, our job-bridge intern since September, who organized this year's Trasna.

The official opening will be on Thursday 28th November with a light hearted, silent auction.

The reserve price on each piece will be €40 of which 25% of the selling price will be donated to the running costs of the gallery and the remainder to the artist.

Trasna IV exhibition will run from


28th November -  4th January at 4pm.


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In The Red Couch Space at the same time


'DutchClouds' 


a mixed-media exhibition by Eric Knoote  


from 28th November - 4 January


opening on Thursday 28th November at 8 pm


Eric Knoote is a mid-career Dutch artist exhibiting his work for the first time in Ireland. This work consists mostly of abstract painting, in the tradition of the abstract art related to Dutch artists Piet Mondrian and Jan Schoonhoven.


The Abstract Art tradition of going back to the essence of a subject, by stripping off all the fringes - representational, moral and social - by concentrating on the qualities of line, colour and shape plays a significant part in the resulting purity and beauty of his works of art.

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In this exhibition Eric uses a mixed media technique on paper marking a spatial perception of Dutch landscapes.

Knoote paints in a pure, rectilinear and fixed way in a formalistic approach (stressing form over content) while still being playful and inventive, yet always in his own distinctive, characteristic style.

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He plays with lines and forms to create work where many different emotions can be perceived as coming together.

Eric shows us that painting with less, can be more.

For more information on Eric’s work, please check his website: www.ericknoote.nl

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