Sarah Dwyer’s paintings and ceramic sculptures use human vulnerability to transformative effect, writes Mark Ewart
Artists like Sarah Dwyer demonstrate that the ancient discipline of painting is in rude health. Indeed, her work is a reminder that generative AI can never properly compete with the sensory experience of oil paint, the feel of linen and the absolute unpredictability of a creative process that surely no algorithm could ever authentically replace.
Dwyer’s exhibition, Penti Menti’, which opened at Uillinn: West Cork Arts Centre, consists of mixed-media paintings and 3D ceramic pieces. Curated by Eamon Maxwell, it is a travelling show that will have different iterations, as work will be added, removed, rotated and – bravest of all – created in the run up to subsequent shows. Throw in a residency at Cork Printmakers and a curation of Abstract Expressionist work from the collection at Limerick City Gallery of Art and it is fair to say the London-based artist is keeping very busy.
To read this article in full, subscribe or buy this edition of the Irish Arts Review
Úna Forde selects a painting by Aubrey Levinthal in the collection of the Ballinglen Arts Foundation in County Mayo
Hilary Pyle remembers Maria Taylor, a painter interested in people, in their occupations and ways of life
Terence Reeves-Smyth visits the castle and gardens of Glenveagh in County Donegal and charts the history of this romantic hideaway
