The Paul Kane Gallery is delighted to be hosting the second of two related
exhibitions, featuring contemporary paintings by established and emerging
artists from the UK and Ireland. Exchange: London/Dublin showcases
a group of English artists represented by The Eagle Gallery,
London. Artists exhibiting are Basil Beattie R.A.- who had a living retrospective at Tate Modern in 2007, Jane Bustin, James Fisher, Zara Matthews and Peter Rasmussen. The exhibition runs from 30 March–19 April.
Exchange Dublin/London runs at the Eagle Gallery London from 2nd March - 22nd March.
The exhibitions are co-curated by Paul Kane and Emma Hill.
Dearcadh is Eoin Mac Lochlainn's first solo show at The Paul Kane Gallery, it will run from the 29Feb to 22nd March
The Paul Kane Gallery is delighted to announce that Eoin Mac Lochlainn was last nights recipient of The Golden Fleece Award-http://www.goldenfleeceaward.com/site/about.htm- in recognition his achievements in the field of figurative painting. Eoin’s current exhibition Dearcadh continues at The Paul Kane Gallery until March 22nd.
Looking, outlook, attitude, perspective are all translations of the resonant title of ‘Dearcadh’, an exhibition of new works by Eoin Mac Lochlainn at The Paul Kane Gallery.
The paintings are from a continuing series of Heads which began some years ago in response to stories in the media about “Most Wanted” men. The first fractured Heads were a useful vehicle with which to explore issues of identity and ‘otherness’ but they gradually took on a more ambiguous character and various other ideas have emerged in the work - ideas relating to the media and spectacle, ideas about the human condition and about seeing and not seeing in contemporary life.
The media presents us daily with a multiplicity of images which can have the effect of inuring us to the personal stories that lie behind each individual image. A personal tragedy, the loss of a loved one, for instance, is sensationally ‘splashed’ across the front pages one day but then is quickly forgotten when the next story is presented. Wars and atrocities give way to further wars and atrocities. The endless supply of stories and images begin to lose their meaning…
By taking an image and using it as the subject of a painting, it emphasises the importance of that image, that personal story. It challenges the viewer to look again, while still allowing him or her to bring their own associations or perspectives to bear on it.
To fully experience the present we must allow ourselves to forget. Memories are meant to fade and eventually even the essential traces of an experience may disappear. However in today’s world we find that the past invades the present continually. We record and playback so much of our lives through photos, videos, and voice mail,that minor events, having been replayed take on a new significance. Things half forgotten are renewed and brought to the fore, so that they are now out of a logical memory sequence.
Shadows are the visual metaphor for memory. Shadows move, shift and eventually fade and disappear. Renewed memories are like shadows that have become permanently printed on the mind. Of course the editorial effect of the recording alters the original memory so that even the memory is only a simulation.
In effect time has become desynchronised; yesterday’s voicemail is heard today, last week’s match will be watched tomorrow. We can be in two places simultaneously through video links. Time and space are not linear and sequential but increasingly flexible and distorted. Chronological time and experienced time have become more divergent.
I express these ideas in my paintings when I use mirrors that reflect the unexpected, windows appear in mirrors through a trick of the light and space becomes curved into a vortex in the bell of the French Horn. When memories are renewed they become accentuated, as do the colours in Terrace Legs and October Terrace. Similarly the shadows hold still, crisp and clean. Conversely in Autumn Terrace, as when memories attenuate, the palette is reduced and the details fall away like leaves leaving the skeleton and shadows of the moment.
16 Eustace Street Marc Reilly
16 EUSTACE STREET
16 Eustace Street is a collection of oils on canvas by Marc Reilly. The
title of the exhibition comes from the address of his studio for the past
four years, the independent artists studios at 16 Eustace Street.
Marc is well known for his colourfield paintings on canvas and for his
loose painterly watercolours which are done in situ near Laragh and
Trooperstown in Co. Wicklow. His large colourfield painting owe
their genesis to the changing light of the countryside and cityscape but are
painted in the studio. For this body of work Marc wanted to move away
from the purity of his earlier work and to introduce markings and
gestures which are imposed on his subtle painting style and which are in
danger through their boldness of taking over the painting. However such
is the mastery of Marc’s years of experience and practice that a balance is
achieved. Inspiration comes from walks through Clara, the sudden blooming
of a Lily or the appearance of the surface water of a river when viewed from
a bridge in the late evening light.
Marc has been selected- along with four other gallery artists- by curator
Emma Hill, for inclusion in a Five Person Show at the prestigious Eagle
Gallery in London in March 2008.
Runs from Tuesday 2nd December until Tuesday 23rd December.
A group show of works by selected gallery artists including, Veronica Bolay RHA, Chris Doris,Philippa Sutherland, Megan Eustace, Fiona Flinn, Matthew O’Kane, Marc Reilly, Zita Reihill and Jackie Nickerson.
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