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    Archived pages: 288 . Archive date: 2012-07.

  • Title: Cross Gallery Dublin, Irish Art Gallery, Modern Art Gallery, Art Consultant, Artist Agent, Art Dealer Ireland, Nicholas Gore Grimes
    Descriptive info: Artist Name.. Press Exhibition.. Date.. 11/03/2009.. ROBERT O’CONNOR, whose Future Projects is showing at the Cross Gallery, is an Irish photographer who also takes contemporary urban development as a subject, though he looks further afield than his own country, in fact to China.. Born in Cork, he studied at Belfast, then Cardiff and Carmarthenshire.. As with Duncan’s Boom Town, O’Connor is looking at cities in the throes of dramatic development, though in his case the cities are Shanghai and Hangzhou, so that the scale and nature of development is unprecedented.. He travelled in China in 2007, when the global economy had not yet registered the calamities to come, and when limitless growth still seemed plausible.. He notes candidly that China overwhelmed him.. It was hard to know how to deal with it as a photographer, and it was only when he was sorting through many hundreds of photographs that: “I remembered that my first impression of China was the huge billboards that whizzed past me as I drove along the highway leaving Pudong airport.. ” The billboards featured not advertisements in the  ...   and consumption.. O’Connor’s images explore several fault lines implicit in the gigantic hoardings in China.. A cursory glance might convince you that you are looking at an amazing urban vista, but a second glance might reveal a roughly repaired gash in the image.. He is also intrigued by the joins between image and reality.. A planting scheme leads us back into the middle distance and onwards, but something is not quite right.. The actual landscape gives way to a represented landscape.. A luridly coloured panorama of tower blocks extends away from a municipal park, and we realise that both are contrivances.. In a way, O’Connor’s photographs are about what remains unseen in them.. We are made aware of the slight gaps, the tears and misalignments that indicate a China beyond the images.. It’s a thoughtful exhibition that makes one curious about that China beyond and what the rest of O’Connor’s work might say about it.. Future Projects , by Robert O’Connor, based on travels in China.. Cross Gallery, 59 Francis St; Until Mar 28.. Aidan Dunne, The Irish Times, Wednesday 11th March 2009..

    Original link path: /gallery/newsItem.aspx?cd=33
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  • Title: Cross Gallery Dublin, Irish Art Gallery, Modern Art Gallery, Art Consultant, Artist Agent, Art Dealer Ireland, Nicholas Gore Grimes
    Descriptive info: 19/02/2009.. IN ADVENTURING, HER exhibition at the Cross Gallery, Kate Warner also delves into the idea of the exotic landscape.. The paintings are small in scale but many of them feature vast expanses of mountainous terrain.. There are much closer views of fragments of snow and ice-covered rock.. Although she doesn’t pin down locations, the titles refer to aspects of great mountain ranges, with references to glaciers, ice caves, passes, ledges and remote villages.. We don’t see any people, but if they were visible we would be sure of the nature of the engagement with the terrain.. The occasional presence of lengths of climbing rope, coiled in the snow or hanging down a vertiginous face, is a good indicator of the kind of adventuring Warner has in mind.. Such titles as Fall, Retreat , and On the Pass also suggest trekking and  ...   the adventurous traveller.. Two city views, Rooftop and Haze , might seem incongruous in relation to expeditions above the snowline, but actually they sit very well in the exhibition overall.. As the term “haze” suggests, we see the outlines of buildings through an atmospheric veil, so that the city comes across as somewhere distant and mysterious.. Warner works on gesso-primed boards, and the beautifully textured surfaces of her paintings look as if they have been made by a process of addition and subtraction, built up and scraped back.. She is sparing in her use of colour, to great effect, and very good with light and shade: the radiant blue rooftops in Village have a magical otherworldliness about them, for example.. These qualities don’t really come across in reproduction, and should be seen at first hand.. Aidan Dunne, The Irish Times, 18 March 2009..

    Original link path: /gallery/newsItem.aspx?cd=32
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  • Title: Cross Gallery Dublin, Irish Art Gallery, Modern Art Gallery, Art Consultant, Artist Agent, Art Dealer Ireland, Nicholas Gore Grimes
    Descriptive info: In this new show of ethereal.. icy landscapes, Kate Warner shows great perspicacity in observing light: in the small-scale Village, a wintry sundown captures that fleeting moment as daylight recedes, where the sky is still bright, yet all on the ground is in shadow.. In 20 degree Halo, the sky is also dominant, its vastness cradled by an  ...   depths of space above and below, using intense cobalt blue, teal and navy.. But what gives these compositions such finesse is Warner's skilled technique; painted on gesso-primed board, the pieces are worked on, layer after layer, but have refined, smooth surfaces, setting off her glinting snows and cool palette beautifully.. Kate Butler, The Sunday Times, 8th February 2009..

    Original link path: /gallery/newsItem.aspx?cd=31
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  • Title: Cross Gallery Dublin, Irish Art Gallery, Modern Art Gallery, Art Consultant, Artist Agent, Art Dealer Ireland, Nicholas Gore Grimes
    Descriptive info: Solid Air.. 15/10/2008.. VISUAL ARTS: DAVID KING is a painter with a leaning towards the gothic, something that is very evident in Solid Air, his exhibition at the Cross Gallery.. But rather than simply working within the genre he explores, tests and extends it.. Mind you, the show's first room has an overwhelmingly gothic feeling to it in the traditional sense of the term.. He has trawled the internet for photographs of birdhouses and houses, and the former feature in a large number of small paintings made to a uniform format.. Depicted in the snowy moonlight of winter, they have a heightened, theatrical air.. He's gone for the same exaggerated quality in the images of houses, which incline towards the ornate American gothic, with porches and various decorative flourishes, though instead  ...   security.. As we progress through the successive rooms of the Cross Gallery, we come upon a group of incomparably larger, bolder paintings, expansive landscapes made with great verve.. They are also pointedly ambiguous, evoking vast spaces but stopping short of straightforward representation.. In their juxtaposition of overt painterly effects, such as copious drips and broad brushstrokes, and pictorial illusion that borders on cliché, they recall the work of Elizabeth Magill and Peter Doig.. But King has a lot to contribute in his own right.. He takes chances and makes some inspired choices, in terms of palette for example, so that the paintings are exciting.. What's particularly striking is that his show is cleverly designed to make the most of the gallery's distinctive layout.. Aidan Dunne, Irish Times, Wednesday 15th October 2008..

    Original link path: /gallery/newsItem.aspx?cd=30
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  • Title: Cross Gallery Dublin, Irish Art Gallery, Modern Art Gallery, Art Consultant, Artist Agent, Art Dealer Ireland, Nicholas Gore Grimes
    Descriptive info: Clea van der Grijn.. Moment(ous).. 04/07/2008.. Tackling the taboo subject of death with clarity and precision.. AIDAN DUNNE.. VISUAL ART: CLEA VAN DER GRIJN'S Moment , currently showing at the Cross Gallery, originated at The Dock in Carrick-on-Shannon earlier this year.. It marks something of a departure for van der Grijn, who has previously been best known for her textural paintings, pieces that have clearly emerged from a sustained physical engagement with materials.. Often they've been virtually abstract, though her show prior to this one featured a passionate sequence of figurative works based on the image of the Madonna, something directly inspired by her experience of living in a Co Roscommon building that had been home to a religious order.. By contrast with the practice of building up an image through the application and scraping back of paint, Moment is pretty much hands-off in terms of process, though it is fraught, engaged and difficult in terms of its subject matter.. It tackles what is still virtually a taboo subject: death and what a death in the family means to those still living.. It does so intimately, from within the immediate context of the family, but also obliquely, in the form of an ingeniously indirect but telling portrait.. The portrait is that of a mother who has lost a son.. In the Cross Gallery we see an image of his hands lying across his torso.. Everything that makes up the exhibition is photographic in form, including a series of frames captured from a video documentation made by van der Grijn.. We see glimpses of the rituals  ...   a son.. It has long been recognised that mantelpieces are unusually informative domestic sites.. BBC2 television once commissioned a series of short films that featured individuals talking about their lives through the medium of what they had on their mantelpieces.. Van der Grijn notes that what we see in the images is what was there.. This is worth pointing out because the marble mantelpieces and mirrors are heavily laden with memorabilia of various kinds: family photographs, postcards, drawings, books, pictures, objects and ornaments.. They do tell a story, one it is up to us to piece together for ourselves.. They also recall the tradition of precision in Dutch painting of the classical age.. In their stillness and immense detail, they also stand in marked contrast to the blurred, half-seen nature of the scenes captured from video.. Perhaps van der Grijn has in mind here a comparison between life and death.. The liveliness of the video suggests something like helplessness.. Time rushes past, the comfort of ritual cannot undo what has happened, cannot return what is lost.. All we have, it implies, is the fleeting moment.. The vanitas still life, precisely observed, symbolised transience, and the mantelpieces comes across as being something like that.. With their careful inventories of objects, they suggest a stocktaking, a desire to pin down and itemise.. But in fixing, quantifying, defining, we somehow miss out on the nature of being alive, which is what gives it all meaning.. Moment is a thoughtful and troubling exhibition, and one is left with the feeling that van der Grijn may further explore its t..

    Original link path: /gallery/newsItem.aspx?cd=29
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  • Title: Cross Gallery Dublin, Irish Art Gallery, Modern Art Gallery, Art Consultant, Artist Agent, Art Dealer Ireland, Nicholas Gore Grimes
    Descriptive info: 25/04/2008.. Gillian Lawler's paintings, at the Cross Galllery, are finely tuned meditations on the built environment.. Around the time of her first solo show in 2002, it was apparent that she was a really good textural painter, and it seemed as if she might pursue a path of increasingly robust textural picture-making.. That is not, in fact, the direction her work has taken.. Rather, despite the physicality of her method, which involves scraping away layers of pigment, her feeling for nuance and structure has become increasingly central to the work,.. This show features the most  ...   of grid patterns and exploit the tension between the utopian impulse underlying not only modernism but much large-scale architectural thinking, and the sheer abrasiveness of the real world, where things fall apart.. Through the paintings, we can chart a kind of dance involving the opposed forces construction and destruction, which is not to say that one is good and the other bad.. It reads as a cynical and almost an organic process.. This conceptual framework is strikingly visualised in interwoven layers of pattern and texture.. Monochrome tonal expanses are enlivened with rainbow accents and linear structures..

    Original link path: /gallery/newsItem.aspx?cd=28
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  • Title: Cross Gallery Dublin, Irish Art Gallery, Modern Art Gallery, Art Consultant, Artist Agent, Art Dealer Ireland, Nicholas Gore Grimes
    Descriptive info: 26/03/2008.. CATHERINE GREENE'S SCULPTURES in her exhibition, 'Unknown World', at the Cross Gallery, collectively evoke a consistent allegorical realm and, as the title suggests, they are concerned with the process of finding our place and making sense of our position in the world.. Greene builds up a cast of characters, existing mythological  ...   own imagined medieval-looking scholars and jesters.. These figures explore the inner realms of subjective experience as well as the earth, visualised as a globe in several striking pieces.. Greene has great feeling for character and movement, and while various aspects of her work give it a retrospective character, it is also freshly contemporary..

    Original link path: /gallery/newsItem.aspx?cd=27
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  • Title: Cross Gallery Dublin, Irish Art Gallery, Modern Art Gallery, Art Consultant, Artist Agent, Art Dealer Ireland, Nicholas Gore Grimes
    Descriptive info: 23/03/2008.. Standing on the shoulders of giants might offer a better view, but there's always the danger of toppling.. For Catherine E.. Greene's latest exhibition of small bronze works, including The Cartographers, above, the Kildare artist deals with the classical themes of Greek mythology and scientific enlightenment, as well as referring to biblical characters.. As if addressing the risk of anachronism, however, Dedalus's Thoughts on Flight is  ...   meanwhile, at a flightless bird.. There is a furher strange convergence of the classical and the comical in her striking series of planetary models, each of which supports a figure.. In Planetary Alignment, Three men stand in a cluster, straining upwards and wearing glasses - they could be wise, they could be blind, but lyrical composition gives the piece a significance beyond anything the narrative alone could..

    Original link path: /gallery/newsItem.aspx?cd=26
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  • Title: Cross Gallery Dublin, Irish Art Gallery, Modern Art Gallery, Art Consultant, Artist Agent, Art Dealer Ireland, Nicholas Gore Grimes
    Descriptive info: 23/01/2008.. At The Cross Gallery, Ann Quinn's Autumn in Middle East, Summer in West features an unlikely conjunction of locations: travels in Iran and a residency in Glenveagh National Park in Donegal.. Given the geographical distance and differences, the uniform look of the work is disconcerting, and even intriguing.. Is there an equivalence between the two sites? Not really, but Quinn's carefully calibrated mode of representation wins out over the local differences.. That is, she is a representational painter within tightly defined parameters.. She is greatly influenced by photography but her images are not photographic as such.. She likes the smoothness and impassivity of the photographic surface, particularly when burnished and polished in the virtual reality of cyberspace, and on one level her paintings are as blandly even in tone as stylised computer games.. Yet, in  ...   a photographically true account of clouds turns out, on closer inspection, to be nothing like a cloud at all, and much more like abstract mark-making.. Her paintings depend on this flickering between seamless pictorial illusionism and sly reminders that we are looking at handmade contrivances.. They work because she has a distinctive visual sensibility.. A couple of the Iranian landscapes are tremendously atmospheric renderings of cities viewed from distant heights at dusk.. Though small, the paintings have a real sense of scale and distance.. Elsewhere, everything is deliberately foreshortened.. As though we are stalking deer in Glenveagh and are pressed into the earth, we see just a fringe of bracken and, above, a vast expanse of sky.. A mood of still quietness pervades virtually all of her pictures.. Aidan Dunne - Irish Times, 23rd January 2008..

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  • Title: Cross Gallery Dublin, Irish Art Gallery, Modern Art Gallery, Art Consultant, Artist Agent, Art Dealer Ireland, Nicholas Gore Grimes
    Descriptive info: Claire Carpenter.. 07/11/2007.. At The Cross Gallery, Claire Carpenter shows small tempera paintings.. Although exceptionally colour-fast and durable (barring physical destruction), tempera painted onto a gesso ground has an incredibly delicate, nervy responsiveness.. Every little waver and tremble of the artist's hand is preserved in the surface, and clearly Carpenter likes this quality of immediacy or, even, intimacy.. Her work is tied to the scale of tiny hand movements and gestures so that, although the paintings are small, she treats the pictorial space as huge.. More, the space is curiously indeterminate and dreamlike, allowing disparities of time and location, and accommodating inter-woven narratives.. Perhaps a term such as narrative references is closer to the mark than narrative as such, though, because Carpenter is exceptionally oblique and her imagery is fragmentary and often cryptic.. Her imaginative world  ...   over, perhaps tinged with guilt and regret, is surely at the heart of what she is trying to convey in her work.. It is as though recollections are summoned in her mind's eye, recalled from the shadows of memory but never quite articulated or made explicitly visible.. They are always only flickeringly and tenuously present, always on the point of fading away.. The results can be wonderfully suggestive and evocative, but at the same time the dynamic in this present body of work has her becoming even more determinedly inward-looking and elliptical, giving us less and less to work with, less for our eyes and our minds.. She is an eloquent, fascinating painter and it would be a shame to see her disappear down a path of diminishing returns.. Aidan Dunne, Irish Times, 7th November 2007..

    Original link path: /gallery/newsItem.aspx?cd=23
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  • Title: Cross Gallery Dublin, Irish Art Gallery, Modern Art Gallery, Art Consultant, Artist Agent, Art Dealer Ireland, Nicholas Gore Grimes
    Descriptive info: 08/09/2007.. Ross McDonnell is one of a number of up-and-coming younger Irish painters whose work is thoughtful, provocative, skilfully made and extremely well informed about international developments in the art world.. It's not that they make up a coherent group movement - they don't - but there are some common characteristics, including a preferance for working on a small scale, a wariness of pictorial conventions, and a tendency towards oblique, wry understatement.. In Papillon,  ...   painting is an image, he implies, but that doesn't mean it is only what it depicts.. On the contrary, what is depicted is subsumed into the painting's image.. He spells this out by drawing a wedge between what we might think the painting is about, like Window or Portrait, and what we are actually looking at.. Does that sound dry and theoretical? Don't worry, McDonnell's art is also very enjoyable.. Aidan Dunne.. Irish Times, 7/9/07..

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  • Archived pages: 288