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—FORTHCOMING. ‘Believing is Seeing in the Round’. (SUSAN MACWILLIAM). 2015. (Printed Publication)


“There are things known and there are things unknown and in between are the doors.” (The Doors)


—FORTHCOMING. ‘Bee Loud Glade’. (MARK JOYCE). 2015. (Printed Publication)

From bearded Genesis to moustached Relativity, light has both guided and led humanity astray. In the

end light is an imageless image-maker and time-honoured celestial paradox that keeps on giving the

more you tinker with it with words or equations or paint. Mark Joyce’s outdoor aestheticisation of light

exists somewhere between celestial beginnings and terrestrial full stops; unlocking the extraordinary in

order to prevent us from acquiring too much of the ordinary.



—FORTHCOMING. ‘Swan Songs for the Lifeworld’. (MICHELLE BROWNE). 2014.

Being young and restless are the defining quiddities of the contemporary artist. ‘Mid-career’ retrospectives at the age of forty. Surveys of artists Younger than Jesus. Jet-setter superstars who produce work on plane rides or between stops en route to London, Berlin, New York.


The Catch the He(art) traveling residency, curated by artist Michelle Browne, offered a moment of pausation from the g-forces of contemporaneity.




—‘Hot-Wired Perceptions’. (FIRE STATION ARTISTS’ STUDIOS, DUBLIN). 2013.

It’s not a question of being against the institution: We are the institution. (Andrea Fraser)


A greyscale collage of pencil, watercolour and photographic elements, Vera Klute’s Rear Window is a portrait of a banjaxed inner city Dublin landscape that forensically documents the aftermath of a delinquent joyride from the vantage point of one of Fire Station’s residential studios. Composed of episodic quadrants within the frame of two arched windows, the narrative roles out clockwise, equating the piths of delinquency of A Clockwork Orange.

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—‘The become and the Set-Fast’. (GAVIN MURPHY). 2013.

Gavin Murphy’s film Something New Under the Sun presents to the viewer architectural histories that were destined for, or had near misses with, obsolescence – a fate that could be described as the default setting of forward-moving (and thinking) modernity.


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—‘Eithne Jordan’s Electric Tenebrism’. (ROYAL HIBERNIAN ACADEMY, DUBLIN). 2012.

It is with Walter Benjamin’s ideal of a doorless city that I approach Eithne Jordan's paintings, who dons the cap of Dublin flâneur, or more appropriately Irish Fánaí, for her most recent body of work.




—‘First Name Spelt with an ‘O’. (ORLA WHELAN / THE LAB, DUBLIN). 2011.

But these knocking whales are seldom remarkable as faithful essays. (Herman Melville, Moby Dick)


The leitmotif of the ‘White Whale’ that populates the everyday scenography of Moby Dick, comes to a head in the 57th chapter of the novel entitled Of ‘Whales in Paint; in Teeth; in Wood; in Sheet-

Iron; in Stone; in Mountains; in Stars’. Orla Whelan’s work at The Lab points directly to this 57th chapter in the abridged title of the artist’s solo show.



—‘The Corrupt Geologist and the Awkward Coroner’. (DAMIEN FLOOD). 2011.

Questioning the author and reader’s relationship is as good a place as any to

start writing about painting, and particularly so with regard to the corrupted

image that Damien Flood presents to us. This is not a strategy to direct you, the

reader and observer, away from the object  of Flood’s paintings and towards a

subject  of my casual acquaintance. No! I promised myself back in 2010 when

asked by the artist to write a text around his work that I would confront his

paintings head on, ‘stay the course’ so to speak, through what could be generally

thought of as the descriptive storm of writing on painting.


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—‘To be – to see – to be seen’. (SUSAN MACWILLIAM). 2010.

In 2010 at NCAD Gallery, Dublin, Susan MacWilliam restaged the video installation F-L-A-M-M-A-R-I-O-N. This was one of three works that were shown at the 53rd Venice Biennale, 2009. The press-release for F-L-A-M-M-A-R-I-O-N stated:

F-L-A-M-M-A-R-I-O-N (2009) is based on MacWilliam’s research into the spirit photography archive of T.G. Hamilton held at the University of Manitoba Archives in Winnipeg, Canada. Named after the French astronomer and psychical researcher Camile Flammarion (1842-1925),the work is inspired by a photograph which documents the appearance of a ‘teleplasmic text’ at a séance in June 1931.

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