Margo Banks is so instinctively attuned to her subject that her energetic approach and her subject matter are inseparable, writes Isabella Evangelisti
Visiting Margo Banks‚’ studio in North Dublin on a clear winter’s day, I am just close enough to open fields and the shoreline to understand the artist’s deep connection with the countryside and its fauna. The studio is home too, a place where she is rooted by family and work. The house is full of drawings and paintings and old things belonging to her parents. The trees in the garden, planted by her father, resound with the raucous caws of the rooks and crows that Banks loves to depict. Her roots go deeper than here though, through her mother’s people, to a remoter, wilder place in Co Kerry.
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Visiting Margo Banks‚’ studio in North Dublin on a clear winter’s day, I am just close enough to open fields and the shoreline to understand the artist’s deep connection with the countryside and its fauna. The studio is home too, a place where she is rooted by family and work. The house is full of drawings and paintings and old things belonging to her parents. The trees in the garden, planted by her father, resound with the raucous caws of the rooks and crows that Banks loves to depict. Her roots go deeper than here though, through her mother’s people, to a remoter, wilder place in Co Kerry.
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
