Marianne O’Kane Boal previews Simon McWilliams’ exhibition at the Naughton Gallery, Belfast where architectonic forms rendered in intense colour project a Kafkaesque scenario
Daphne Wright is known for her unsettling sculptural installations that tap into the fragility of the human condition: in conversation with Bnan McAvera she recalls the source of her inspiration
Paula Murphy examines the political character of Oliver Sheppard’s work as exemplified by Cuchulainn and his all’antica portrayal of Padraig Pearse
Christiaan Corlett tracks the handiwork of stone cutter James Butler beyond the previously understood confines of north Wexford
Colin Darke tells Brian McAvera how seeing a burning cigarette paper sparked an idea for an expressive means of communication
Sculpture and glass are part of Killian Schürmann’s DNA. Paula Murphy visits his studio as he finalizes his most ambitious project to date, for University College Dublin
Beyond their arresting materiality new works from John Gibbons convey his interest in spiritual and religious history, writes Luke Naessens
The allure of art glass and proximity to the sea combine in the career of Cork-based sculptor-designer Eoin Turner, writes Mark Ewart
Kevin Francis Gray’s debt to classical sculpture is both obvious and complicated, writes Riann Coulter in anticipation of the Armagh-born artist’s first exhibition on this island.
Linda Brunker’s female avatars affirm nature and spirit. Mark Ewart talks to the Irish sculptor as she departs California for France
Eilís O’Connell is widely admired for expanding the language of sculpture; here she tells Brian McAvera ‘Gravity is my dearest enemy’ ahead of her participation in ‘Ark’ this summer at Chester Cathedral
Carissa Farrell visits the studio of sculptor Catherine Greene where the magic of transforming abstract idea into plastic form takes place.
Mark Ewart visits the studio of Allihies-based artist Rachel Parry who transforms natural matter into mesmerizing art.
Michael Waldron tracks the shaping of John Hogan’s national art as championed by Young Irelander Thomas Davis
Seán Kissane reflects on the career of Gerda Frömel whose handling of form echoes Brancusi’s statement ‘Beauty is absolute equity.’
Many principles came into force to guide the shaping of UL’s outdoor sculpture collection, not least the overarching vision of Ed Walsh. Judith Hill gives an insight into its conception
Former marine biologist John Coll turned to sculpture in order to enhance his understanding of nature, writes Gerry Walker
