Sarah Whitfield explores the multifaceted role of the humble pan in William Scott’s practice, ahead of the retrospective at the Ulster Museum this autumn
It is surprisingly easy for an artist to become associated with one particular image (think of Cézanne’s apples or Van Gogh’s irises) and Scott is no exception. As early as 1959 he realized that he had begun to be labelled ‘a painter of frying pans’ even though, as he said, he wasn’t particularly drawn to frying pans or saucepans. ‘In fact’, he went on to say, ‘I think these things are completely uninteresting. That’s why I paint them. They convey nothing. There is no meaning to them at all, but they are a means to making a picture.’
‘Culture is about sharing; Nationalism is about ownership.’ Hughie O’Donoghue encapsulates the chasm between the two concepts, in conversation with Brian McAvera
The study of fragments is second nature to Jason Ellis, writes Paula Murphy of the sculptor’s collection from last year.
As Irish Design 2015 is launched worldwide, we republish here Jennifer Goff’s assessment of the legacy of internationally acclaimed arch Modernist Eileen Gray