Gemma Tipton

  • Mairead O’hEocha, House with Miniature Round Tower, Co. Carlow, 2008,  oil on board, 15 1/2 x 19".
    picks April 13, 2011

    Mairead O’hEocha

    Concentrating on those parts of Ireland that are not urban yet not quite rural either, Mairead O’hEocha’s paintings are small in scale but encompass concentrated narratives that hint at both pre- and postrecession Ireland.

    Her pedestrian, unpopulated scenes depict roadside views of the southeast coast of Ireland. It is a part of the country that is, historically speaking, soaked in blood. From the Norman invasions to Cromwellian slaughter to the Battle of Vinegar Hill during the 1798 rebellion against British rule, this lush and fertile ground has been fought over, inch by inch. And yet O’hEocha

  • View of “Triumphs,” 2010.
    picks February 09, 2011

    Richard Tuttle

    Over a decade ago, Richard Tuttle installed his work Cycles, 1994, vertically, at Dublin’s Douglas Hyde Gallery. In his catalogue essay for his latest Dublin exhibition, he professes to have been mortified, as he quickly realized that the work should have been shown horizontally. This is the sign of an artist who is as obsessively perfectionist about the details of work and installation as Donald Judd was before him. Tuttle’s work is so sensitive to placement that orientation and juxtaposition not only create but also eradicate meaning.

    At that, the parallels between Judd and Tuttle cease: While

  • View of “Someone Else’s Life,” 2010.
    picks February 08, 2011

    “Someone Else’s Life”

    Without a certain lightness of curatorial touch, group shows risk imposing meaning on artworks through juxtaposition. Context and adjacency have distorting powers, and yet, at their best, multi-artist exhibitions enhance and illuminate aspects that may otherwise have remained unconsidered. “Someone Else’s Life” evidences this subtle touch. In a finely balanced installation, no single work dominates, and it says a great deal for the quiet strength of Callum Innes’s paintings that they hold their ground against Siobhán Hapaska’s creation: a steel and fiberglass construction wrapped with deerskin

  • Janet Mullarney, Se Fosse Cosi (If It Were Like This) (detail), 2007, bronze, glass, 6 x 7 1/2”.
    picks December 16, 2010

    Janet Mullarney

    According to the writings of Aristotle and Plato, the human soul is composed of both a rational and an irrational side. The rational is what distinguishes us from animals, while the more irrational of our passions, the epithumia, are what we must constantly struggle to control. Push anyone too far, whether in love or hate, and the animalistic epithumia side of human nature comes to the fore. Just how comfortable we are with this is another story. As told in Janet Mullarney’s exhibition “Things Made,” the story is one of coming to terms with the other that lurks within.

    This other—often externalized

  • Laura Buckley, Waterlilies, 2010, mirrored Perspex, twenty-five motors, four-channel video projection, audio, dimensions variable. Installation view.
    picks November 23, 2010

    Laura Buckley

    The act of remembering becomes uncomfortable when one thinks about how the mind actually works. As memories fragment and fade, others become embellished, more powerful. The only constant is the distorting nature of memory itself. The challenge of representing this mental space is reflected in the gap between the mechanisms––the synaptic processes of the brain––and the physical tools available to the artist. This is the territory explored in Laura Buckley’s installation Waterlilies, 2010. Film, mirrors, mirrored Perspex, motors, projected light, and sound coalesce to capture a sense of the