Dukkha, Douglas Hyde Gallery, Dublin
15 September 2014
[…] Spiritual connotations aside, ‘dukkha’ is also a good description of two distinct strands of contemporary practice, which are exemplified in this exhibition. Each have similar starting points and source materials, but tend towards utterly different outcomes. Aleana Egan, Fergus Feehily, Sam Keogh and Paul Mosse all take fragments, large and small, resurrecting the forgotten detritus of familiar and everyday objects, to assemble artworks that hover on the edge of meaning, vague in their associations. But while Feehily and Egan’s work is spare, elegant, and subtle, Mosse and Keogh give the eye a riot of colour and texture, a chaos of shape and form.
In Egan’s story on his hands (2014), a thin panel of off-white material hangs in a loose arch on the wall. Facing it is the steel outline of a chair, the seat empty. The ghost of an audience facing the memory of a stage? Perhaps. In Egan’s haunting work, potential meaning and fleeting ideas resonate gently. But then, high up on the adjacent wall hovers Keogh’s Eyebrows (2014). This is a mad bat-wing extravaganza, a glossy creation of paper, marker, pencil and Sellotape. […] —Gemma Tipton