Renewing
16 Dec 2010 - 29 Jan 2011
RENEWING
16 December, 2010 - 29 January, 2011
Damien Flood, Ronan McCrea, Niamh O'Malley, Nigel Rolfe, Caroline McCarthy, Arno Kramer, John Cronin, John Graham, Fergus Martin, Paul Doran, Bea McMahon
Green On Red Gallery is delighted to announce Renewing, an exhibition of new and recent work by gallery artists, including the two new artists added to the gallery’s roster and who will exhibit in 2011, Ronan McCrea (April 2011) and Caroline McCarthy (July-August 2011). New work appears by John Cronin (May 2011), Paul Doran, Damien Flood (November 2011), John Graham, Arno Kramer, Fergus Martin (March 2011), Bea McMahon, Niamh O’Malley (October 2011) and Nigel Rolfe. The exhibition is a ravishing selection of work in all media by this small group. Work is given new life and fresh vigour in the company of this vibrant community of artists.
Nigel Rolfe’s brand new White Tree and Mask images, remarkable for their slick, stark wintery impact sit near to Paul Doran’s hand-hewn and, by comparison, raw objects titled Jesus Where Are You and Sign. Four Years by Ronan McCrea lies apparently discarded on the floorboards but irradiating with a brilliant neon glow in the far corner of the room. Four Years tugs Nauman-like between linguistic description and real object, remarkable for its interlocking coloured curved line. Also teasing our faculties of perception are the two separated but umbilically connected versions of the same found, mass-produced object transformed by Caroline McCarty in a typical virtuoso twist, called Reclining Nude. A monochrome plastic bag sits punched, but stately, atop its white pedestal while its “ nude “ by-product challenges our core artistic value system less to do with prurience.
Damien Flood returns producing paintings like Herringar wrought of a fecund imagination fed by a combination of art historical mood and some science fiction filter. Windows open up to strange planets or as yet undiscovered islands whereas Cronin’s continuing Augmented Reality series point to a hyper-, overloaded information age. Layer after layer of lurid purples and greens and yellows assert the vibrancy of colour abstraction that persists in his work, healthy as ever.
New drawings by Arno Kramer, Niamh O’Malley and Bea McMahon represent an art form in a variety of guises ranging from the conceptual but virtuoso pencil studies of the Mayo artist to the more expressive story-telling of the Dutch Arno Kramer. McMahon’s calender collage is as rooted in ancient mapping of time and the seasons as it is concerned with the contemporary world.
Fergus Martin will present a new body of photography in the gallery in March, 2011. He was recently awarded the O’Donoghue Curtin Photography Prize in the RHA Annual exhibition in 2010. He is here represented by his impressive Oedipus lambda print showing familiar but exotic car headlights. John Graham returns to his trademark minimal black and white etchings, this time based on his interpretation of the shadows cast by an Eileen Gray black lacquer screen. The resulting forms in EG I and II are as simple as they are the height of elegance.
16 December, 2010 - 29 January, 2011
Damien Flood, Ronan McCrea, Niamh O'Malley, Nigel Rolfe, Caroline McCarthy, Arno Kramer, John Cronin, John Graham, Fergus Martin, Paul Doran, Bea McMahon
Green On Red Gallery is delighted to announce Renewing, an exhibition of new and recent work by gallery artists, including the two new artists added to the gallery’s roster and who will exhibit in 2011, Ronan McCrea (April 2011) and Caroline McCarthy (July-August 2011). New work appears by John Cronin (May 2011), Paul Doran, Damien Flood (November 2011), John Graham, Arno Kramer, Fergus Martin (March 2011), Bea McMahon, Niamh O’Malley (October 2011) and Nigel Rolfe. The exhibition is a ravishing selection of work in all media by this small group. Work is given new life and fresh vigour in the company of this vibrant community of artists.
Nigel Rolfe’s brand new White Tree and Mask images, remarkable for their slick, stark wintery impact sit near to Paul Doran’s hand-hewn and, by comparison, raw objects titled Jesus Where Are You and Sign. Four Years by Ronan McCrea lies apparently discarded on the floorboards but irradiating with a brilliant neon glow in the far corner of the room. Four Years tugs Nauman-like between linguistic description and real object, remarkable for its interlocking coloured curved line. Also teasing our faculties of perception are the two separated but umbilically connected versions of the same found, mass-produced object transformed by Caroline McCarty in a typical virtuoso twist, called Reclining Nude. A monochrome plastic bag sits punched, but stately, atop its white pedestal while its “ nude “ by-product challenges our core artistic value system less to do with prurience.
Damien Flood returns producing paintings like Herringar wrought of a fecund imagination fed by a combination of art historical mood and some science fiction filter. Windows open up to strange planets or as yet undiscovered islands whereas Cronin’s continuing Augmented Reality series point to a hyper-, overloaded information age. Layer after layer of lurid purples and greens and yellows assert the vibrancy of colour abstraction that persists in his work, healthy as ever.
New drawings by Arno Kramer, Niamh O’Malley and Bea McMahon represent an art form in a variety of guises ranging from the conceptual but virtuoso pencil studies of the Mayo artist to the more expressive story-telling of the Dutch Arno Kramer. McMahon’s calender collage is as rooted in ancient mapping of time and the seasons as it is concerned with the contemporary world.
Fergus Martin will present a new body of photography in the gallery in March, 2011. He was recently awarded the O’Donoghue Curtin Photography Prize in the RHA Annual exhibition in 2010. He is here represented by his impressive Oedipus lambda print showing familiar but exotic car headlights. John Graham returns to his trademark minimal black and white etchings, this time based on his interpretation of the shadows cast by an Eileen Gray black lacquer screen. The resulting forms in EG I and II are as simple as they are the height of elegance.