Curator of the State art collection, Jacquie Moore, highlights the first OPW exhibition of sculpture at Dublin Castle and discusses the historical background to the State collection
Initially conceived as a humanising element in a business environment, Whitelight Garden by Vivienne Roche has proven to be her most ambitious project to date, writes Yvonne Scott
John Turpin assesses a selection of sculpture by Jerome Connor, best known in Ireland for his poignantly evocative Lusitania Peace Memorial in Cobh
Ahead of the forthcoming retrospective hosted jointly by IMMA and Dublin City Gallery The Hugh Lane, Enrique Juncosa offers insights into the emphatic shift in Barry Flanagan’s practice since the 1980s
Imogen Stuart’s stone sculpture in honour of St Columbanus, is an unexpected, yet apt symbol of European solidarity, writes Brian Fallon
Sligo-born artist Eileen MacDonagh discusses with PETER MURRAY the positive influence of the sculpture symposium movement on the development of her art
Ken Thompson, a traditional letter-cutter and sculptor working in Cork, has to a considerable extent inherited the mantle of Seamus Murphy and Eric Gill. Although mainly a stone carver, Thompson also works in wood and, occasionally, bronze. He specialises in figurative sculpture, memorial plaques, gravestones and other inscriptions, but is equally at home with wood engraving
Brian Lalor rediscovers a forgotten sculptor and teacher
As Derry-Londonderry celebrates its year as UK City of Culture, Declan McGonagle recalls 1987, when extreme reaction to Sculpture for Derry Walls demonstrated Antony Gormley and his curator that meaning is created by context.
Combining a career as an artist and mother in 1960s Ireland raised eyebrows in Irish society, but, as Carole Pollard recounts, Nell Murphy Pollen did much to change perceptions.
A striking new installation by John Kindness on Dublin’s Sir John Rogerson’s Quay, borrows from the ancients to recall the history of gas in Ireland, writes Nicola Gordon Bowe
Eileen MacDonagh’s recent exhibition at VISUAL is a testimony to the artist’s love of stone, writes Carissa Farrell
Chris Corlett lauds the work of stone carver Denis Cullen, who attracted commissions from a divided society in 18th-century Ireland
The wealthy strata of Norman society brought with them to Ireland their elaborate tomb sculpture, a new genre for Irish stonemasons, writes Peter Harbison
Leo Higgins’ name is synonymous with technical expertise; yet his approach never results in the sterility of such a capacity can engender, argues Gerry Walker
Rod Mengham visits Michael Warren’s exhibition at Visual in Carlow where his investigation into the timeless nature of wood is seen to monumental effect in the Caryatids.
Black Pool, White Water, by Jason Ellis recently unveiled at the Garda Memorial Garden in Dublin Castle is an ideal example of the timeless quality of abstract sculpture, writes Riann Coulter.
While Rachel Joynt’s successful public sculptures are eminently legible, their enduring appeal stems from their detail and scale, writes Lisa Godson
In terms of public commissions, Rachel Joynt is one of the most successful sculptors of her generation. The Kerry-born sculptor lives and works far from the city, far from the sea, in the foothills of the Blackstairs Mountains in Co Carlow (Fig 2). She says that it is here, in this ‘arcadian landscape’ that she finds the stillness and spaciousness to develop her projects. These are orientated in two key directions – horizontal along the ground plane, and vertical against the sky.
Nancy Ireson met sculptor John Gibbons at his exhibition at the National Portrait Gallery, London, part of the ‘Interventions’ series which focuses on artists with an innovative approach to portraiture
Ahead of his first gallery show in two decades, Maurice Harron talks to John Cunningham about the war of cultural imperialism within the art world
The consistent reference to Celtic mythology gives Anthony Scott’s work coherence and a unity of purpose, writes Alannah Hopkin
Ann Mulrooney charts the revolutions in form and finish that characterise Sonja Landweer’s evolving practice.
Peter Harbison examines biblical scenes and arcane visions from the imagination of the medieval stonemason, captured by photographer James Fraher
Brian King possesses an acute sense of space, observes Gerry Walker on the recent unveiling of his memorial in Merrion Square Park, Dublin
Marianne O’Kane Boal surveys the public sculpture enlivening the Laganside in Belfast, with work that is both thematically resonant and aspirational in tone
Denise Ferran heralds the opening of a gallery and reconstruction of F E McWilliam’s London Master studio in his hometown of Banbridge, Co Down
Joe McDonnell discusses the significance of a newly discovered Rococo sculpture in Eastern Belgium by Bartholomew Cramillion
Brian Lynch examines the work of Eamonn O’Doherty, whose style captures the spirit of his era
Brian Fallon examines the career of Melanie le Brocquy, whose practice, while intimate in scale, eloquently captures the subtle dynamics of gesture and pose
Desmond Egan considers the career of sculptor James McKenna, the subject of a major retrospective at IMMA this winter
Seamus Murphy —Peter Murray considers the achievements of Cork-born sculptor Seamus Murphy on the centenary of his birth
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
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
Linda Brunker’s female avatars affirm nature and spirit. Mark Ewart talks to the Irish sculptor as she departs California for France
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.
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.’
Janet Mullarney’s sculptures perform as metaphors, not portraits, writes Cliodhna Shaffrey
Michael Quane’s sculpture celebrates the ordinary citizen rather than leading political figures, writes Peter Murray in his appraisal of the Cork-born artist
Patrick T Murphy traces the career path of sculptor Eilís O’Connell who was chosen as the winner of a limited competition to design a new sculpture for TCD
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
Imogen Stuart is gladdened to see a new generation, represented here by Helen O’Connell embracing the traditions and craft of their art
Society’s values are more happily reflected in their monuments to writers than to statesmen, suggests Gerry Walker
Former marine biologist John Coll turned to sculpture in order to enhance his understanding of nature, writes Gerry Walker
Paula Murphy examines the background to Oisín Kelly’s immortalization of Big Jim Larkin commissioned by the workers of Ireland