previous exhibitions

April 27th - May 15th

Megan Eustace - Niall Foley - John Graham - Paddy Lennon
Philippa Sutherland - Wesley Triggs - Keith Wilson

Monochromatic works of art, have been created by many artists over the centuries. In the past the choice to create works in this manner was sometimes due to the limited materials available, however in our modern technicoloured world, many artists still choose to explore and exploit the sole use of one colour, on a ground of white paper/ canvas. Often the reason for the decision to work in this way, is so that a focus can be placed on the shapes, tones and markmaking in the artwork.

High contrast is used to great effect by Dublin based John Graham, in his etchings Plane - EG1, and 2, which focus on shapes unfolding laterally across the surface.   His prints are formally reduced works, usually black and white that combine allusions to architecture, the figure and to the materials and processes of printmaking itself. In these particular pieces, the shapes are based on cast shadows and owe something to the designer Eileen Gray's lacquered screens. 

Paddy Lennon, in contrast to Graham, will exhibit works of a more figurative nature. Lennon's art practice is divided into two distinct bodies of work - paintings made up of blocks of colour, alluding subtley to landscape, - and strong charcoal drawings with an equine subject matter. It is these equine pieces, large close up drawings of horses' heads, which will be exhibited. Based in Wexford, Lennon's family are connected with stables, which affords him the opportunity to gain an extra insight into these creatures.  His images of these horses which often seem to emerge from the dark, seem to  portray the personality of the animal.

Drawing is the key part of Megan Eustace's practice, and her work is predominantly limited to the use of one or at most two colours. Eustace is interested in the rudiments of drawing, and often experiments by placing limits on herself, as was the case in her previous "blind carbon drawings". This series of drawings on acrylic, are inspired from photographs taken from a moving car. In them, she employs an exercise usually used for developing visual perceptive skills. Mostly known for her life drawing, which she teaches at the Crawford College of Art and Design, she hopes that these current drawings will reveal something that the photographs left out.

Landscape drawings are also what will be on show by Keith Wilson.  Over the last few years Wilson has created images in response to his immediate surroundings in North Mayo.   He likes the self imposed limitations of confining himself to a relatively small area to explore and is interested in emphasising a stillness and tranquility through his work, ignoring the spectacular and getting closer to the more ordinary aspects of a particular place. Roads, hedges, trees and empty fields all feature, in his almost textured looking drawings which are made up of a myriad of different marks.

A more abstract range of marks can be seen in the conte works by Wesley Triggs, which make reference to architecture, industry and the mechanical. Triggs' paintings, which are often inspired by rusted and weathered surfaces, illustrate an enjoyment of colour and paint. These works on paper are stripped bare and show a different but connected enjoyment of mark-making focusing on both marks and their obliteration. Based in Cork, Triggs like Eustace is a member of the Backwater artist group.

Philippa Sutherland's small intimate canvases make use of a limited pallette of colour and as is the case with the works here, paints with just one colour and a light application of paint. The subject matter is less the physical appearance of a real environment of woodlands and winding roads than the projection of an interior world, an idea of living a wilderness life in a landscape as perceived by a city-dweller through the experience of literature and the filter of a camera lens. 

Last but by no means least, Niall Foley - recently retired administrator of the Lavit Gallery will exhibit his black and white photography. In his work, a focus is placed on water and in many of his photographs there is a play between abstraction and figuration. Elements of Venetian architecture slowly emerge from the reflections while elsewhere a slow camera speed is used to soften the texture of the water to create an almost silvery glow, against which dark poles are captured, to create an interesting contrast.