A preoccupation with surface qualities and materials in Coilín Murray’s work is underpinned by a solid core of intellectual rigour, writes Gerry Walker
Art graduate exhibitions are similar to the theatre; the players are expected to hit their marks and know their lines, writes Gerry Walker in his appraisal of the class of 2017
Gerry Dukes follows the money as hubris and greed fall victim to Tom Fitzgerald’s pen, as seen in his exhibition of watercolours at Limerick City Gallery as part of City of Culture
Oisín Roche’s Standing Portrait is a reflection on the nuances of identity, writes Gerry Walker of this year’s recipient of the Ireland-US Council/Irish Arts Review Portraiture Award
The strong decorative element within Kathleen Holohan’s paintings reflects a sympathetic celebration of the ordinary, Gerry Walker
John Kelly’s enrollment in school in the 1950’s marked the beginning of a fully realized career in the arts; Gerry Walker remembers the noted artist and printmaker
Art picks up where nature ends, writes Gerry Walker of Dermot McNevin’s new paintings
Gerry Walker welcomes an alternative to the conventions of gallery management in the work of Olivier Cornet
Behind the bustle and colour of the 2016 graduate shows Gerry Walker finds a wealth of well-researched, accomplished projects.
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.
Former marine biologist John Coll turned to sculpture in order to enhance his understanding of nature, writes Gerry Walker
