Without decisive action, our glass heritage will once again be lost, argues Eleanor Flegg, as Róisín de Buitléar’s exhibition’Caution! Fragile’ receives an enthusiastic reception Stateside
My own analogy of glass is to imagine that it is actually made of light; light trapped between two polished skins. Scratch the surface and light is released at that place. The engraver’s task is to find and release the light in the way that best expresses his ideas.
Simon Whistler – Engraver 2005
When the Waterford Crystal factory at Kilbarry closed its gates in 2009 Ireland shrugged and turned the other way. What outcry there was focused, quite legitimately, on the high-handed way in which the workers had been treated. There were also understandable fears for how Waterford, already struggling in the economic crisis, would absorb the loss of another large employer. The city was on its knees and, within the larger crisis, there seemed little public awareness that Ireland was losing more than just another factory and that Waterford Crystal represented a repository of skill in glassmaking unparalleled in Western Europe.
In his assessment of Fitzgerald Kavanagh and Partners’ award-winning Student Centre at UCD Seán ó Laoire charts the evolution of Ireland’s largest campus since its foundation
Carissa Farrell reports on sculptor and multi-media artist Andrew Kearney’s new installation ‘Tell Me Something’ for Limerick City of Culture, which continues Kearney’s focus on the policing of the private individual
This summer the Casino in Marino hosts an exhibition that captures the original splendour of the lost demesne, writes Rose Anne White