The Spring 22 showcases a superb selection of articles to enjoy, from the artists On View across Ireland from March to the end of May, as well as many informed and beautifully illustrated articles, featuring Hughie O’Donoghue, new work from Francis Matthews, Anne Ryan and Aleana Egan, interview with Elaine Hoey, Deirdre Brennan, Electronic Sheep, the new ESB headquarters, Port of Cork Collection, Drimnagh Castle, Yeats Comic Art and much more.
John P o’Sullivan previews Hughie o’Donoghue’s latest suite of paintings of diverse historic characters spanning 1,500 years of history
A Micheál Mac Liammóir watercolour leads Christian Dupont back to Yeats’ ‘The Stolen Child’
John Hutchinson considers that Aleana Egan’s art is perhaps best read as a set of related parts, which together trace her experience of both outer and inner worlds
Mike Fitzpatrick suggests that Anne Ryan’s new works function as sculpture, yet are figurative paintings in the round
Brenda Aherne and Helen Delany, AKA electronic Sheep, are making waves in the international arena, as Hilary O’Kelly recounts
Dublin artist Francis Matthews manages to give the impression of reality without becoming enmeshed in itemising endless physical detail, writes Aidan Dunne
Elaine Hoey tells Rachel Thomas that light and colour inhabit a space in a way that is very ethereal, but has a volume, not unlike virtual reality
Stephanie McBride explores Deirdre Brennan’s photographic response to James Joyce’s Ulysses
Artist Frances Kelly didn’t aim for exact likenesses in her portraits of people or flowers, but rather for some inner, more abstract, significance, writes Hilary Pyle
James Howley is impressed by Grafton Architects and O’Mahony Pike’s rebuild of the ESB headquarters and believes it is a building of international importance
Peter Harbison reviews a collection of Beranger watercolours recently presented to the Royal Irish Academy
Michael Connerty traces Jack B Yeats’ output of comics and comic-strip art
Peter Murray highlights paintings from the recent collection donated to the Crawford Art Gallery by the Port of Cork Company
Peter Pearson outlines the history of Dublin’s Drimnagh Castle, where he has spear-headed the restoration for nearly four decades
Performance artist Amanda Coogan’s self-portrait Medea became part of the National Self-Portrait Collection of Ireland at the University of Limerick in 2003.
