I learned to trust my instincts and it gave me permission to get things wrong, Sinead McKeever tells Brian McAvera
Brian McAvera: There is a cool, almost industrial formality to your work. It’s a balance between the dramatic and the theatrical. How conscious is this?
Sinead McKeever: I’m aware of this balance. When I go into a room, I see how light travels around it and interacts with the architecture of the space. I’m prepared, but the piece I am working on can either go as I imagined it, or else go off into a totally different direction. If something isn’t working, you can’t push it
The legacy of stained-glass artist Helen Moloney is in the vibrancy of her colours and her use of coloured glass and lead lines in an abstract manner, writes Bart Felle
Tom Climent’s recent paintings appear to edge more and more away from pure abstraction, writes Mark Ewart
Margo Banks is so instinctively attuned to her subject that her energetic approach and her subject matter are inseparable, writes Isabella Evangelisti
