The class of 2014 is looking anew to the tangible joys of creativity, in contrast to its documentation, writes Gerry Walker of the trends emerging from this year’s graduate shows.
What characterizes the tone of the many of the graduate shows this year? In part, a refreshing directness; unimpaired by attachments of vast tracts of ‘artspeak’. Previously these inclusions sought to illuminate but more often than not resulted in pretentiousness and obfuscation. Complexity for its own sake is not an inevitable guarantor of quality and mediocrity is not the inevitable consequence of simplicity. There is a discernable re-evaluation taking place, particularly in NCAD, of course durations and their structures which will inevitably impact on a redefinition of fine art for years to come. Established media, drawn from design disciplines hitherto regarded as being separate from the idea of Fine Art, are being reintegrated and synthesized to redefine the artmaking process. Thus the nomenclature of art, design and craft is being scrutinized and recast in favour of eliminating these false distinctions. Work displayed at the highest levels reveals an invigorated engagement with media, materials and their formal elemental interactions.
With the recent passing of Ronald Tallon, Seán Ó Laoire reflects on the end of an era and remembers Michael Scott, founder and charismatic figurehead of Scott Tallon Walker
Catherine Marshall assesses the unwavering artistic journey of Maria Simonds-Gooding in advance of her retrospective in Dublin
Carissa Farrell is transfixed by the shard-like glass birds and decayed flowers that combine to fascinating effect in Graham Gingles’s signature boxes at the Hamilton Gallery, Sligo
.