Projects

Origins is a series of paintings investigating the physicality of paint as object and furthermore how it can be used to create the impression of form and movement without the means of a traditional perspective space.

“Nimmo’s Pier” is an exhibition of recent paintings by Carlow-based artist Jules Michael. Made in her rural studio over the previous eighteen months, the works consist of mostly large-scale, abstracted images, the paintings utilising ideas and sources derived from remnants in architecture and the built environment.

Beatland is an exhibition of paintings by Dublin based artist Chanelle Walshe. The paintings depict human organs, the heart and lungs, in various energetic states.

Studio is an exhibition of paintings where I explore the nature of contemporary artist’s spaces, particularly those in the artist-run Wickham St Studios, in Limerick.

Contrapposto is used to describe how sculpture contains opposing actions that play against each other as a way to create movement and tension.

In Primitive Pathways, Gráinne Tynan presents new work inspired by medical science and shamanism. Through sculpture, drawing, and installation, the exhibition illustrates the artist’s search for resonances between our shared physiology and our primal mark-making instincts.

Nostalgia, Waves marks Du Jingze's first major solo show. It began with Du's fascination with the growing tension we experience today, between the simulation of reality and the reality of our state of conscious. 

Appropriate Colours presents a series of sculptures and works on paper reflecting on the seemingly eclectic, yet often prescribed use of colour in Ireland’s rural vernacular architecture.

The methodology of this show utilises the traditional language of painting. Seven paintings will be produced and are presented to the viewer in a sculptural manner. Influences include rock music, landscapes and art education.

Fundamentally, the exhibition aims to present a combined perspective on a mode of art-making which could defined as ‘indescribable’.

Leaving the camera behind, I arrived in China quixotically armed with notepad and pen. Each scribble a recognition of heightened experience. Each painting a regurgitation of undigested experience.

MOMENT OF SURRENDER (the paintings) are for the artist a way of staying creative, through the process of everyday painting. This process is an important aspect of Lalor’s practice, which was in hiatus during his preceding all consuming film project INCIDENT URBAIN, and has returned injecting a new lease of life into Lalor's daily work and approach to film-making.