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about the artists
b. 1956, Cork, Ireland.
Seemingly pliable, the pillow is carved from Damascus Rose marble, the kinks of its fabric tapped into stone. A depression marks its surface as if left by a resting head, and it’s in this imprint – the point of contact with the human body that an ear is carved.
Working in sculpture, film and photography, Dorothy Cross examines the relationship between living beings and the natural world. Living in Connemara, a rural area on Ireland’s west coast, the artist sees nature, the ocean and the body as sites of constant change and flux. Her works harness this fluidity and generative power, staging unexpected encounters between plants, animals, body parts and everyday objects, resulting in strange, hybrid forms that range from the lyrical, sublime and meditative, to the erotic, humorous and playful. Her sculptures might incorporate classical materials such as Carrera marble, cast bronze or gold leaf alongside discarded antiques, old boats, washed up jellyfish, whale bones or animal skins found on the shore. Treating these materials with equal reverence, Cross honours the legacy of art history but also the geological and ecological histories that far predate it, reflecting upon our place within the environment. Her works also draw upon a rich store of symbolic associations across cultures to investigate the construction of religious, social and sexual mores, subjectivity, memory and vulnerability.
Dorothy Cross has exhibited in museums including MoMA PS1; ACCA, Melbourne; Tate, St Ives; ICA, Philadelphia; Modern Art Oxford; Turner Contemporary, Margate; the Arnolfini Gallery, Bristol and Camden Arts Centre, London. In recent years, her solo exhibitions and projects include Libby Leshgold Gallery, Vancouver (2018); New Art Centre, Roche Court (2017) and a collaborative performance with Lisa Hannigan at Sounds from a Safe Harbour, Cork (2019). Recent group exhibitions include University College Dublin; Herbert Art Gallery, Coventry (both 2021); Fries Museum, The Netherlands (2020); the National Gallery of Ireland; the Irish Museum of Modern Art; Toledo Museum of Art, Ohio (all 2019) and Linda Pace Art Foundation, San Antonio (2018). Cross has participated in the Venice, Istanbul and Liverpool biennales.
b. 1979, Dublin, Ireland.
Working primarily with sculpture and occasionally painting, Aleana Egan engenders psychological states and memories through enigmatic arrangements of objects and forms. Her sculptural works appear restrained yet laden with subtle references to the built environment using materials such as plaster, cardboard, matte paint and various fabrics. A meandering, sensuous line and sense of fluidity is carried from her sculptures into her painting, giving form to a sense of flux, openness and mutability. Egan’s practice is shaped by her deep engagement with works of literature and cinema: never opting for direct representation, she uses this source material as an entryway, absorbing the moods and tones it evokes. Her forms and shapes act as traces or shifting responses, tentative articulations of remembered places or everyday moments.
Aleana Egan has exhibited at Sculpture Centre, New York; Kunsthalle Basel; Kunsthalle zu Kiel; Landesmuseum Münster; The Drawing Room and Jerwood Space, London; Kettle’s Yard, Cambridge; Jupiter Artland, Edinburgh; Leeds Art Gallery; the Douglas Hyde Gallery, Temple Bar Gallery and IMMA, Dublin. She has also participated in the Berlin Biennale. In recent years, she has been the subject of solo exhibitions at The Void, Derry (2021); Künstlerhaus Bremen (2021); NICC Vitrine Brussels (2020) and Farbvision, Berlin (2019). Recent group exhibitions include The Classical Museum, University College Dublin (2021); Cample Line, Scotland; Temple Bar Gallery + Studios, Dublin; Scoil Lorcáin, Seapoint (all 2019); Drawing Room, London (2019, 2017) and Project Space Tilburg (2017).
b. 1962, Edinburgh, Scotland.
Callum Innes creates abstract paintings that carry a powerful tension between control and fluidity. Dissolution is central to his practice: layers of deep pigments are brushed over with turpentine, breaking down sections of paint and leaving watery, trace elements, before being painted over again. Repeating this process of painting, dissolving and repainting multiple times, Innes builds depth and a sense of history: oblique panels of dense pigments become embedded and fortified, while tiny trickles or rivulets of liquified paint point to their underlying fragility. This meticulous approach to materials is carried across into the artists’ watercolours and pastels, in which pigment is built up into velveteen layers. Though Innes’ works may seem minimal or geometric at first glance, they are in fact always slightly “off kilter”, governed by imperfectly drawn lines and slightly softened shapes. This fallibility and humanity, put in contrast with the artist’s skill and precision as a painter, results in works of great poetic and contemplative power – cementing Innes’ place as one of the most significant abstract painters of his generation.
Callum Innes has been the subject of solo exhibitions at De Pont Museum, Tilburg; Kunsthalle Bern; Neues Museum, Nürnberg; Museum of Contemporary Art, Sydney; the ICA, London; the Scottish National Gallery, and the Fruitmarket Gallery, Edinburgh; Kettle’s Yard, Cambridge; Modern Art Oxford; the Whitworth, Manchester; IMMA, Dublin, and recently at Château La Coste, Provence (2018). His work can be found in the collections of Albright-Knox, Buffalo; Centre Pompidou, Paris; Irish Museum of Modern Art, Dublin; Modern Art Museum of Fort Worth, Texas; Museé des Beaux Arts, Lausanne; National Galleries of Australia, Canberra; San Francisco Museum of Modern Art, CA; Scottish National Gallery of Modern Art, Edinburgh; Solomon R Guggenheim Museum, New York and TATE Gallery, London.
b. 1951, Dublin, Ireland.
In his recent series, ‘REMAINS’ Brian Maguire continues his critique of contemporary capitalism, painting images based on events at the southern border of the USA. Some five years ago Maguire began to research the annual fatalities of Central American migrants in the deserts around Tucson, Arizona. The numbers of those who have died are frightening, the recent annual average is 145 deaths. In September 2019 Maguire made contact with the Chief Medical Officer of Pima County who allowed access to the images of the dead which were originally created by law enforcement. From 500 cases Maguire selected 90 as an archive from which to create these paintings. The dead remain anonymous to protect the families’ privacy.
Since the very beginning of his career in the 1970s, Brian Maguire has approached painting as an act of solidarity. He operates a truly engaged practice, compelled by the raw realities of humanity’s violence against itself, and the potential for justice. Maguire’s preoccupations draw him to the margins of the art world—alternative space, prisons, women’s shelters, and psychiatric institutions—making shows in traditional gallery and museum spaces something of a rarity. He works slowly, using photographic sources, searching for that point where illustration ceases and art begins.
Solo exhibitions include Brian Maguire: In The Light of Conscience, Missoula Art Museum, Montana (18 March – 13 August 2022); Crawford Art Gallery, Cork (2021 –2022); Rhona Hoffman Gallery, Chicago, USA (2021); American University Museum, Washington DC and United Nations Headquarters, New York, USA (both 2020); Rubin Center, Texas University, USA (2019); Art Museum Ciudad Juárez, Mexico (2019); Irish Museum of Modern Art, Dublin (2018); Royal Hibernian Academy, Dublin (2018) and the European Parliament, Brussels (2012). Maguire’s work is represented in the collections of the Irish Museum of Modern Art; The Hugh Lane Gallery, Dublin; Museum of Fine Art Houston, Texas; Gemeentemuseum, Den Haag, The Netherlands; Alvar Alto Museum, Finland and The Tia Collection, Santa Fe.
b. 1974, Dublin, Ireland.
Isabel Nolan has an expansive practice that incorporates sculptures, paintings, textile works, photographs, writing and works on paper. Her subject matter is similarly comprehensive, taking in cosmological phenomena, religious reliquaries, Greco-Roman sculptures and literary/historical figures, examining the behaviour of humans and animals alike. These diverse artistic investigations are driven by intensive research, but the end result is always deeply personal and subjective. Exploring the “intimacy of materiality”, Nolan’s work ranges from the architectural – steel sculptures that frame or obstruct our path – to small handmade objects in clay, hand-tufted wool rugs illuminated with striking cosmic imagery, to drawings and paintings using humble gouache or colouring pencils. In concert, they feel equally enchanted by and afraid of the world around us, expressing humanity’s fear of mortality and deep need for connection as well as its startling achievements in art and thought. Driven by “the calamity, the weirdness, horror, brevity and wonder of existing alongside billions of other preoccupied humans”, her works give generous form to fundamental questions about the ways the chaos of the world is made beautiful or given meaning through human activity.
Isabel Nolan has been the subject of solo exhibitions at Contemporary Art Gallery, Vancouver; Mercer Union, Toronto; London Mithraeum Bloomberg SPACE, London; Douglas Hyde Gallery, Dublin; IMMA, Dublin; Kunstverein Graz, Austria; Kunstverein Langenhagen, Germany and Musée d’art moderne de Saint Etienne, France. Her work has also been exhibited at Palais de Tokyo, Paris; Salzburger Kunstverein; Centre of Contemporary Art, Geneva; Artspace, Sydney; Talbot Rice Gallery, Edinburgh; Scottish National Gallery, Edinburgh; Daejeon Museum of Art, South Korea and Beijing Art Museum of the Imperial City, Beijing. Nolan has participated in international group exhibitions and biennales including the Irish Pavilion at the Venice Biennale; Lofoten International Arts Festival (LIAF); Mediations Biennale, Poznan; Yugoslav Biennale of Young Artists, Vršac, Serbia; Glasgow International and EVA International Limerick.
b. 1969, Hunan, China.
Zhou Li creates paintings, sculptures, installations and public art using mixed media, including oil paint, washes of ink, charcoal and cotton cloth. Her lyrical abstract paintings capture her acute sensory observations of the world: lightness and shadow, solidity and dissolution, the sense of being. Building upon the history of European painting and the central tenets of traditional Chinese art (Qiyun, or atmosphere; brush stroke; colour and structural arrangement), Zhou Li harnesses both traditions to develop a distinct painterly language. Her free-flowing charcoal lines intersect with circles of paint in a gauzy, gossamer palette; these delicate, layered forms appear to float in space and follow a complex compositional arrangement that extends beyond the surface of the painting. Her paintings looks towards nature as a starting point, particularly the mountainous terrains of Southern China, but are imbued with a sense of much more: every brush stroke on the canvas is driven by her persistent query and pursuit of being.
Zhou Li was born in 1969 in Hunan and lives and works in Shenzhen. Upcoming and recent solo exhibitions include Kerlin Gallery (2 July – 20 August), Water and Dreams, Chateau La Coste, Aix-en- Provence (12 June – August); Tracing Peach Blossom Spring, Pingshan Art Museum, Shenzhen, China (2022); Lost in Green: Zhou Li, Guangdong Museum of Art,Guangzhou, China (2020); Original State of Mind, White Cube, London, (2019); The Ring of Life, Hive Centre for Contemporary Art, Beijing and Shadow of the Wind, Yuz Museum, Shanghai (both 2017). Recent group exhibitions include The clouded Peach Blossom Spring- Selected Works of Chinese Contemporary Artist as Exemplars, Hive Center for Contemporary Art, Beijing, China, (2019);The world is yours, as well as ours, White Cube Mason's Yard, London, UK, (2016); Too Loud a Solitude, Hive Center for Contemporary Art, Beijing, china (both 2016), From West to East, 56th Venice Biennale, Italy (2015) and Catch, OCT Center for Contemporary Art, Shenzhen, China (2013).
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