Sometimes even the simplest and most familiar ideas can yield extraordinary results. “Vignette,” Niamh O’Malley’s first solo exhibition in a Dublin gallery, was based on a coalescence of the traditional concerns and effects of painting and cinema, a merging of domains that has informed much contemporary art but which was here rendered literal rather than notional. The show featured two separate works placed some distance apart on opposing walls in the large, darkened main space—DVD projections onto what, on entering the gallery, at first appeared to be blank screens. It gradually became apparent,