Isabel Nolan

Isabel Nolan,
A rug for a National Gallery,
2016,
Hand-tufted wool,
250 x 227 cm / 98.4 x 89.4 in
Isabel Nolan,
Fourfold Sorrows,
2015,
Hand-tufted wool,
395 x 160 cm / 155.5 x 63 in
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Isabel Nolan,
Hungry and Thirsty. Sorry and Angry. A flag for John Donne.,
2015,
cotton and powder coated mild steel flag pole,
398 x 184 cm / 156.7 x 72.4 in
 
 
Bent Knees are a Give was produced with the generous support of Black Church Process, an initiative of Black Church Print Studio, Dublin.
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Isabel Nolan,
I am wonderfully and fearfully made,
2015,
archival pigment print framed with clarity glass,
edition of 3 + 1 AP,
85 x 122 x 4 cm / 33.5 x 48 x 1.6 in framed
Isabel Nolan,
Fresh disorder diminishing energy,
2015,
cotton and powder coated mild steel flag pole,
285 x 232 cm / 112.2 x 91.3 in
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Isabel Nolan,
"The sky is not bounded by a fixed edge!": an illuminated rug arranged to accommodate a medieval mind.,
2014,
hand tufted wool,
630 x 170 cm / 248 x 66.9 in
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Isabel Nolan,
The weakening eye of day,
2014,
mild steel, wadding, wood, thread,
227 x 218 x 377 cm / 89.4 x 85.8 x 148.4 in
Isabel Nolan,
The effect of its past and the cause of its future,
2014,
polystyrene, jesmonite, plaster bandage, paint,
dimensions variable
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Isabel Nolan,
Harbinger,
2014,
stained glass, mild steel and paint,
66 x 2 x 78.5 cm / 26 x .8 x 30.9 in 
Isabel Nolan,
Here (anchored in oblivion),
2014,
mild steel, armature wire, metal mesh, adhesive, plaster bandage, jesmonite and paint,
85 x 49 x 53 cm / 33.5 x 19.3 x 20.9 in object,
20 x 70 x 70 / 50.8 x 177.8 x 177.8 base
Isabel Nolan,
Somewhere between Andromeda and Vulpecula: Sky Atlas,
2014,
mild steel, two-pack paint,
210 x 160 x 3 cm / 82.7 x 63 x 1.2 in 

Dreams of no thing, no time.
2014
watercolour on canvas
40 x 30 cm / 15.7 x 11.8 in  

Isabel Nolan 
Meatball sun 2014
water based oil and oil pastel on canvas
30 x 25 cm / 11.8 x 9.8 in   
Isabel Nolan 
Meatball moon 2014
water based oil and oil pastel on canvas
30 x 25 cm / 11.8 x 9.8 in 
Isabel Nolan 
Meatball world 2014
water based oil and oil pastel on canvas
35 x 45 cm / 13.8 x 17.7 in 

What remains of an occasion that had not lasted.
2013
mild steel and PU Satin Lacquer, archival pigment print on Hahnemühle paper, framed
element one 572 x 295 x 55 cm /  225.2 x 116.1 x 21.7
element two 43 x 57 cm / 16.9 x 22.4 in framed

slow dirty solution & That’s an approach
2013
mild steel, corten steel
315 x 150 x 150 cm / 124 x 59.1 x 59.1 in & 160 x 130 x 130 cm / 63 x 51.2 x 51.2 in
 
Here (below the benighted stars) 
2013
mild steel, armature wire, metal mesh, adhesive, plaster bandage,  jesmonite and paint
63 x 60 x 50 cm / 24.8 x 23.6 x 19.7 in 
126 x 31 x 31 cm / 49.6 x 12.2 x 12.2 in base
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The still reproach of breaking day
2013
mild steel, armature wire, metal mesh, adhesive, plaster bandage, jesmonite and paint
36 x 26 x 28 cm / 14.2 x 10.2 x 11 in 
155 x 27 x 27 cm / base 61 x 10.6 x 10.6 in

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"The death of the sun is a death of mind"
2013
mild steel, wadding, wool-blends, cotton, embroidery yarn and thread
dimensions variable
height 185 cm

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Thoughtless with Unsolicited Rug for Artist Mark Manders’ Self Portrait as a Building, (Ongoing)
2012
polystyrene, plaster bandage, jesmonite, paint, mild steel, wadding, various fabrics and thread
63 x 500 x 240 cm / 24.8 x 196.9 x 94.5 in

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In this time

2012

steel, wool, cotton, foam, thread

208 x 90 x 210 cm / 81.9 x 35.4 x 82.7 in

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Soft Stillness and the Night

2011

steel, cotton, foam, thread

dimensions variable

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‘Near past, recent future’

2011

balsa, jesmonite, paint

93 x 88 x 1.3 cm / 36.6 x 34.6 x .5 in

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The Outward Form
2011
painted steel
a commission for The Model, Sligo

 

Holding it in
2011
steel, paint, MDF,
object 26 x 55 x 42 cm / 10.2 x 21.7 x 16.5 in
base 78 x 48 x 48 cm / 30.7 x 18.9 x 18.9 in

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Dynamic Interdependent Unity

2009

polystyrene, plaster bandage, jesmonite, paint, toughened glass, MDF

25 x 30 x 25 cm / 9.8 x 11.8 x 9.8 in

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City Fox

2009

watercolour and pencil on paper

29.7 x 42 cm / 11.7 x 16.5 in

Kiss the machine

2011

steel, cotton, silk-blend, thread and MDF

object 125 x 133 x 78 cm  / 49.2 x 52.4 x 30.7 in

base 23 x 85 x 85 cm / 9.1 x 33.5 x 33.5 in

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Colourhole
2011
steel, cotton, wool, embroidery yarn and thread
76 x 40 x 35 cm / 29.9 x 15.7 x 13.8 in

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Cold Horizon

2011

watercolour and waterbased oil on canvas

35 x 45 cm / 13.8 x 17.7 in

 

Death after life 
2007
watercolour, acrylic and paper on canvas
50 x 69.5 cm / 19.7 x 27.4 in   
 

The unfolding moment
2007
linen mixed fabric, embroidery thread, wood and paint
48 x 50 x 64 cm
158 x 147 cm

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Reinforcements

2010

watercolour on paper

21 x 29.7 cm / 8.3 x 11.7 in

Ever-stay-leaf-green (Diptych)

2010

watercolour on paper

25.5 x 18 cm / 10 x 7.1 in each

Isabel Nolan, The weakened eye of day, Contemporary Art Gallery 29 July - 02 October, 2016

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Isabel Nolan
The Weakened Eye of Day
Mercer Union, Toronto 
12 February - 2 April 2016
 
 
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Isabel Nolan
Bent Knees are a Give
Kerlin Gallery, Dublin
1st April - 16th May 2015

Isabel Nolan
Bent Knees are a Give
Kerlin Gallery, Dublin
1st April - 16th May 2015

Isabel Nolan
Bent Knees are a Give
Kerlin Gallery, Dublin
1st April - 16th May 2015

Isabel Nolan
The weakened eye of day
Irish Museum of Modern Art
7 June – 21 September 2014

Isabel Nolan
The weakened eye of day
Irish Museum of Modern Art
7 June – 21 September 2014

Isabel Nolan
The weakened eye of day
Irish Museum of Modern Art
7 June – 21 September 2014

Isabel Nolan
The weakened eye of day
Irish Museum of Modern Art
7 June – 21 September 2014

Isabel Nolan
The weakened eye of day
Irish Museum of Modern Art
7 June – 21 September 2014

Isabel Nolan
The weakened eye of day
Irish Museum of Modern Art
7 June – 21 September 2014

Isabel Nolan
The weakened eye of day
Irish Museum of Modern Art
7 June – 21 September 2014

Isabel Nolan
The weakened eye of day
Irish Museum of Modern Art
7 June – 21 September 2014

Isabel Nolan
The weakened eye of day
Irish Museum of Modern Art
7 June – 21 September 2014

Isabel Nolan
"A Spare Rug for Love (But Not for a Dog) and a Chair Too"
2014
Ikea ‘Terje’ chair (black), 12 mild steel rods wrapped, wadding, various fabrics and thread, digital video animation
1.2 x 12.6 inches (10 rods), 1.2 x 5.5 inches (2 rods), 30.3 x 17.3 x 20.1 inches (sculpture), 5 minutes looped (video)

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Isabel Nolan
"The Provisory Rug Adapted and Documented for Past, Present and Future"
2012
1. Thoughtless with Unsolicited Rug for Artist Mark Manders’ Self Portrait as a Building (Ongoing) 2. Travel Rug for Philosopher and Theologian Giordano Bruno (b. 1548 – d.1600) Who Hypothesized That the Universe Is Infinite 3. Rug for Not Right Now 4. Rug for Solar Astronomer Richard Carrington’s Study (b. 1826 – d. 1875) 5. Unsolicited Rug for Artist Mark Manders’ Self Portrait as a Building (Ongoing) 6. Spare Rug for Marie Lieb’s room, Heidelberg Psychiatric Hosptial, 1894 (a.k.a. Circumstances Shape An Emptiness),
Set of six black and white photographs
16.5 x 11.7 inches

Isabel Nolan
"A Spare Rug for Love (But Not for a Dog) and a Chair Too", 2014 and "The Provisory Rug Adapted and Documented for Past, Present and Future," 2012
Installation view at Wallspace, New York

Spare Rug for Marie Lieb’s room, Heidelberg Psychiatric Hospital, 1894 a.k.a. Circumstances shape an emptiness
2012
mild steel, wadding, various fabrics and thread
3 x 500 x 240 cm / 1.2 x 196.9 x 94.5 in 

Installation view of "The Black Moon", dans le cadre de "Nouvelles vagues" (21.06.13 - 09.09.13), Palais de Tokyo, Paris. Photo : Aurélien Mole

A Hole into the Future
2012
Musée d’art moderne de Saint Etienne Metropole

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Spare Rug for Marie Lieb’s room, Heidelberg Psychiatric Hospital, 1894 a.k.a. Circumstances shape an emptiness 2012 mild steel, wadding, various fabrics and thread 3 x 500 x 240 cm / 1.2 x 196.9 x 94.5 in  Installation view of Gracelands – Circling the Square, EV+A, Limerick.

Unmade curated by Vaari Claffey
2012
The Goethe Institut, Dublin

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A Hole into the Future
2011
The Model, Sligo
commissioned by The Model

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King Rat
2010
Project Arts Centre, Dublin

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Mark Garry and Isabel Nolan
2011
Stephen Friedman Gallery

Turning Point
2010
Permanent Public Artwork for Terminal 2, Dublin Airport, commissioned by DAA

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Clocks and Seasons and Promises
2010
Gallery Side 2, Tokyo

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The Paradise [29]
2008 
Douglas Hyde Gallery, Dublin

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Gallery 3 curated by Gavin Delahunty
2006
Douglas Hyde Gallery, off-site project at Farmleigh, Dublin

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b. 1974, Dublin, Ireland.
 
The startling objects of Isabel Nolan's art take wildly unpredictable forms, but they are at the same time the fully consistent outcomes of a singular, searching artistic sensibility. Nolan’s works evolve out of almost scholarly processes of investigation – intensive enquiries into cosmological and botanical phenomena, or analytical scrutiny of literary and historical texts. These contrasting means of representing reality (and of comprehending its infinitely various components) provide divergent points of departure for Nolan as she attempts to somehow account for the enduring strangeness of the world, even in its most intimately familiar forms.
 
Recent large-scale sculptures in particular have demonstrated an extraordinary capacity to realise in elaborate form the uncertainties of the questing, subjective consciousness. Such works often have the appearance of grand metallic doodles – line drawings that might imply efforts towards rational modeling or more impulsive sketching, but that are rendered dramatically, imposingly real. Regularly complementing such sculptural endeavors in Nolan’s art are wall hangings, paintings and works on paper that carefully ‘domesticate’ the elaborate strangeness of the sculptures, but that also have their own beautifully inscrutable integrity.

Upcoming solo exhibitions include The weakened eye of day, to visit CAG, Vancouver in June. First shown at the Irish Museum of Modern Art in 2014, the exhibition also visited Mercer Union, Toronto earlier this year. Other solo exhibitions include A Thing Is Mostly Space, Launch Pad New York (2015); The Model, Sligo (2011), travelling to the Musée d’art moderne de Saint Etienne, France (2012); The Return Gallery, Goethe Institute, Dublin (2012–13); Gallery 2, Douglas Hyde Gallery, Dublin (2008) and Project Arts Centre, Dublin (2005). In 2005, Nolan represented Ireland at the 51st Venice Biennale as part of a group exhibition, Ireland at Venice 2005.
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Isabel Nolan, The weakened eye of day

CAG Vancouver

29 July – 2 October 2016

Isabel Nolan's touring exhibition The weakened eye of day will visit Contemporary Art Gallery Vancouver in July.

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Isabel Nolan, The Weakened Eye of Day

12 February – 2 April 2016

Mercer Union, Toronto, ON, Canada

Isabel Nolan's solo exhibition The Weakened Eye of Day travels to Mercer Union, Toronto, from 12 February – 2 April.

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Isabel Nolan, A Thing Is Mostly Space

Launch Pad New York, NY, USA

25 September – 4 October 2015

Site-sensitive commission

Launch Pad, the London based commissioning art series, will make its debut in New York City in September at the invitation of arts philanthropist Laura Taft Paulsen, with a newly commissioned sculpture by Dublin-based artist, Isabel Nolan.

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Isabel Nolan at LIAF

Lofoten International Arts Festival, Jern & Bygg, Svolvær, Norway

28 August – 27 September 2015

Arts festival

Isabel Nolan will participate in Disappearing Acts, the main exhibition at Lofoten International Arts Festival (LIAF) in Norway. 

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ART BASEL 2015

Hall 2.1 Booth M11

Kerlin Gallery is looking forward to participating at ART BASEL 2015, 18–21 June 2015. Please join us at Booth M11, where we will be presenting work by Gerard ByrneAleana EganMerlin JamesSam KeoghSamuel Laurence CunnaneEoin Mc HughIsabel Nolan and Sean Scully.

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Isabel Nolan and Jaki Irvine

PULL BITE RALLY

20 November - 16 December 2014

NCAD Gallery, Dublin

Isabel Nolan and Jaki Irvine participate in PULL BITE RALLY, an exhibition and parallel events series to mark the Black Church Print Studio 'Process' project, with other artists including Brian Fay, Damien Flood, Jesse Jones and Sarah Pierce. 

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Isabel Nolan

The weakened eye of day

7 June – 21 September 2014

Irish Museum of Modern Art, Dublin

The weakened eye of day, is a new body of work by Irish artist Isabel Nolan, conceived as a single project for IMMA. The exhibition explores how light manifests as a metaphor in our thoughts, obsessions and pursuits and includes text, sculpture, drawings and textiles. Nolan’s works begin with the close scrutiny of individual literary or artistic works, or evolve out of consciously erratic enquiries into the aesthetics of diverse fields, such as cosmology, humoral theory, and illuminated manuscripts. 

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'Re Framing the Domestic in Irish Art'

Kathy Prendergast, William McKeown, Isabel Nolan, Siobhan Hapaska, Dorothy Cross

29 April - 29 August 2014

Highlanes Gallery, Drogheda

‘Home is no longer a dwelling but the untold story of a life being lived.’[1]

 

A large-scale group exhibition featuring works by Kathy Prendergast, William McKeown, Isabel Nolan, Siobhan Hapaska, and Dorothy Cross.

 

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Isabel Nolan

THE BLACK MOON

21/06/2013 - 09/09/2013

Palais de Tokyo

Curator, art critic and lecturer at the Sorbonne, Sinziana Ravini is known for her “exhibition-novels.” The Black Moon is «a film-exhibition» that presents an encounter between a man and a woman visiting an exhibition. Meanings suggested by the juxtaposition of works by diverse artists are meant to suggest a narrative. Thus the story of this relationship unfolds around the works, playing with love, art and life. While one searches only for a fleeting tryst, the other aspires to finding true love. Fleeting tryst or true love: which will triumph?

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Isabel Nolan

Unmade

16 November 2012 - 21 December 2012

The Return Gallery, Goethe-Institut Irland, Dublin

In her exhibition "Unmade" which will be opened in the Goethe-Institut's Return Gallery on Thursday 15 November 2012 at 6pm, Isabel Nolan refers to documentary material from the Prinzhorn Collection in Heidelberg/Germany.

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Bent Knees are a Give

Isabel Nolan

May 2015

Art Agenda

From bended knee comes Isabel Nolan’s most recent body of work. At Dublin’s Kerlin Gallery, this position between seating and standing is suggested in various depictions of John Donne, Lucretia, and Saint Jerome, in a polystyrene sculpture of a seated lion, and in a series of flags hung from bent poles. –Isobel Harbison

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Unmade

Isabel Nolan

March 2013

ArtReview

For Unmade Isabel Nolan wrapped 144 steel pipes of different lengths in fabric of various colours (cool greys, black, lemon-yellow) and patterns (meandering flowers, ticking). This is shown as a floor piece entitled Festina Lente Rug (all works 2012), but it allows for other configurations, too, some of them shown in seven black-and-white photographs along one wall. 

- Tim Stott

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On a Perilous Margin

Isabel Nolan

01 March 2010

Frieze

The  title  of  ‘On  a  Perilous  Margin’,  Isabel  Nolan’s  second  solo exhibition  at  Kerlin  Gallery,  is  taken  from  a  passage  in  George Eliot’s  Middlemarch  (1871–2)  which  advises  that  ethical decisions  be  guided  by  personal  conscientiousness  rather than  blind  servitude.  Comprising  almost  30  works  in  a  variety of  media,  the  liaisons  between  individual  pieces  were  nothing if  not  unlawful  –  which  is  not  to  say  that  the  exhibition  was lawless.  The  young  Irish  artist’s  craftsmanship  was  adept  and consistently  visible  throughout.  Indeed,  at  the  centre  of  ‘On  a Perilous  Margin’  lay  an  implicit  and  genuine  harmony.

- Isobel  Harbison   

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This time I promise to be more careful

Isabel Nolan

May 2007

ArtReview

There is more than a hint of the adolescent bedroom to Isabel Nolan’s work, but for the Irish artist the bedroom is a space that opens up directly onto the universe, negating the need for jet propulsion and spacesuits, or the manly evils of the military-industrial complex, in her exploration of the hallucinatory enormous and angrily complex.

- Luke Clancy    

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