There are three exhibitions opening in Cork city this week.
Away, an exhibition of new work by Patrick Graham opens at Triskel Arts Centre at 6pm. The exhibition is dedicated to and inspired by the work of poet, Dermot Healy. It has been curated by John P Quinlan. The exhibition opening will be followed by Deep End of The Ford performing music from their album An Táin at 8pm.
“The exhibition, simply entitled ‘Away’, consists of uncompromising mixed media drawings, executed in the artist’s trademark expressive style and muted palette.” Mark Ewart, Examiner
Or, opens this Friday at 10am in Crawford Art Gallery. This exhibition brings together new work by Kathy Prendergast, an artist whose sensitivity to issues of individual and collective existence has resulted in some of the finest work made over the past three decades. Featuring a new work commissioned by the Crawford, this exhibition sees Prendergast furthering her research in mapping, power and perception.
Prendergast’s work entitled,The Furthest Place from the Centre of the Earth was one of the main features at Kinsale Arts Festival last year. “Prendergast’s interest in geographical boundaries and barriers — be those physical or emotional — carries through in the sentiment of the title, examining our alliance with, or dislocation from, the world and other people. Some of Prendergast’s artworks were made nine years ago, while several have slowly evolved over time.” Mark Ewart, Examiner
Curated by Ingrid Swenson, (Peer, London) the exhibition will be shown in the historic Gibson Galleries, and will incorporate an installation over twenty metres in length, exploring pertinent questions of our times, as offered by over 40 leading social thinkers and commentators.
There is an official opening on the 23rd of April at 6pm.
In Exile : Cork Community Printshop, lower Oliver Plunkett Street, Cork city.
“Claire Guerin’s current exhibition of work instantly grabs the eye and pulls the viewer into taking a closer look. From a distance, the paintings are striking and vivid with colour, but it is only once you approach them that their real intrigue and beauty unfolds. What initially appears as a bold colour statement turns out to be a delicate study on the act of painting. As Claire discusses on the process of creating these pieces, “I kept changing my starting point…thickness of the brush…wetness of the paint etc. The dots around all needed to be applied at similar pressure to keep them uniform and the paint had to be the right consistency too…this all effected the shape and size of the dots. It was quite a meditative process keeping the painting clean and to a pattern.” It is obvious then that whilst Claire was creating these paintings, she was focusing on her movement and mark-making rather than creating something figurative or illustrative.
In this sense, her focus on the act of painting itself reminds me of the minimalist grid-like style of the 1960’s era – for example, Agnes Martin. Here the artist’s work is not as strictly adherent to a precise linear style as Martin, but we are confronted with the same mesmeric scene that allows our eyes to wander and be consumed by the space of the canvas. As the art historian Rosalind Krauss said on the subject, “The grid’s mythic power is that it makes us able to think we are dealing with materialism (or sometimes science, or logic) while at the same time it provides us with a release into belief (or illusion, or fiction).” Claire’s paintings confront us with the precise logic of painstakingly creating the work, but the effect of the finished piece allows the viewer the freedom to imagine whatever they want to see.” Iris Swift