Dec
15
to Feb 3

Future – Christmas Show 2017

Future
Eleven artists.  New Work.  New artists.


Opening Reception :
Thursday, 14 December, 6-8pm, 2017


Exhibition Dates :
15 December, 2017 – 3 February, 2018

The Gallery will close for Christmas Holidays at 3pm, Saturday, December 23, 2017.  Normal hours will resume on Wednesday 3rd January, 2018.  

Kirstin Arndt, o.T., (flyer/rectangle), 2006, Anodized aluminium, 68 x 42 x 35cms and 65 x 50 x 45cms

Kirstin Arndt, o.T., (flyer/rectangle), 2006, Anodized aluminium, 68 x 42 x 35cms and 65 x 50 x 45cms

Green On Red Gallery presents Future, a group exhibition featuring works from gallery and invited artists. New work by artists Kirstin Arndt ( D ), Alan Butler, John Cronin, Damien Flood, Benjamin Houlihan ( D ),  Mark Joyce, Arno Kramer ( N ), Fergus Martin, Niamh McCann, Caroline McCarthy and Nigel Rolfe will dominate.

Kristin Arndt will show for the second time in the gallery with her newest sculptural and wall works from her Düsseldorf studio.  Arndt brings to her mixture of sharp and flowing industrial materials a prediliction for clean and colourful forms, at times inviting the viewer to interact with or even to recompose her work.  She last exhibited in Green On Red Gallery in Material Pleasures curated by Molly Sullivan in 2004.

Alan Butler continues to delve into a virtual computer-generated space with dazzling, hypnotic results to make works that pose searching questions about man's tinkering with technology and nature.  His new deskscapes jump off the page as do his new deep blue Virtual Botany cyanotypes.

John Cronin's first canvas paintings Warme Nights, Fat Grounde, Softe Dewes, And Misty Mornings ( 2017 ) will be on display.

Damien Flood's new paintings on canvas and linen show the artist's trademark play with memory and half narrative.  The viewer is caught in this world of fragments and silhouettes where a teasing but elegantly curving line will, when you least expect it, exude in a lush protrusion or a thumbprint.  Not to mention the baroque pirourette of his anti-gesture.

Mark Joyce will show new small acrylic paintings on raw linen.  His startling palette of colours borrowed from nature are somewhere between image and a rainbow of marks. 

Arno Kramer, High Winds Move Slowly, charcoal, pencil, watercolour on plaster, Courtesy The Artist and The Model, Sligo, 2017

Arno Kramer, High Winds Move Slowly, charcoal, pencil, watercolour on plaster, Courtesy The Artist and The Model, Sligo, 2017

Arno Kramer will exhibit new mixed media drawings on paper that place images, animals and birds from nature in testing, abstract compositions.  They appear innocent witnesses to looming and surrounding forces, caught in a maelstrom of dark webs and pools, words and lines.  Kramer is one of the leading artists working in drawing in Europe today.  Arno is the founder and curator of The Drawing Centre, Diepenheim, the Netherlands.

Fergus Martin's two pastel paintings on paper are the earliest and possibly the largest works in the exhibition.  These Untitled paintings carry many of the artist's recognisable and singular, uncompromising traits where edge and extent and the hand-made are pushed to a bold and meticulous limit.

Another artist who pushes his chosen material to surprising limits is Benjamin Houlihan, showing for the first time in Green On Red Gallery.  No matter what his material, Houlihan manages to find an expressive charge that is hard to match or to contain.  His sanded sculptures are finely balanced on a line verging on the impossible.

Niamh McCann also considers nature pitted against culture.  The resulting works in ceramic, fired clay, porcelain, wood, gold leaf, bronze and pure pigment are rich in association and steeped in Modernist history, albeit an alternative history.

Caroline McCarthy's Ground Work ( 2017 ) and Walk me to the station ( 2017 ) paintings are her latest achievements in acrylic, unbelievably, on canvas.  Caroline's next solo show will be in Green On Red Gallery in 2018.

In Nigel Rolfe's new 'Dark was the night cold was the ground'  works on paper he uses Chinese blood ink and ivory black pure pigment to dramatic and energetic effect.

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Oct
28
to Dec 9

John Cronin: Warme Nights, Sweete Dewes, Fat Grounde and Misty Mornings

The Green On Red Gallery is delighted to announce John Cronin’s exhibition of new paintings Warme Nights, Fat Grounde, Sweete Dewes, And Misty Mornings. This is the artist’s first solo exhibition since his very successful solo shows in VOLTA New York in March 2017 and his first solo survey exhibition, ZXX, in the Royal Hibernian Academy Gallery, Dublin 2, in 2016.

In an exciting departure for the artist Warme Nights, Fat Grounde,… sees the artist paint in oil on the softer surface of canvas and, in so doing, avails of the fabric’s warp and weft with more sonorous results. Momentary glimpses of the textured panel beneath abruptly concede to fronts of Cronin’s best painting. He makes full use of the possibilities of soaking, bleeding and leaking in the movement of the paint, dragged and scraped across the smaller more intimate panels.

The move away from the sheer, sharp aluminium surface and a palette more consistent with the computer age, seems in sympathy with a shift to darker hues and a more reflective mood. Cronin says :

When I started mulling over “Warm Nights, Sweete Dewes, Fat Grounde, And Misty Mornings” my preoccupations were with Loss in the modern world, loss of time, privacy, identity and sense of reality. Unfortunately, personal loss suffocated these thoughts and “Warm Nights, Sweete Dewes, Fat Grounde, And Misty Mornings”became a different beast.

…Sometimes a softly spoken word has more effect.

Warme Nights, Fat Grounde, Sweete Dewes, And Misty Mornings is the 16th C. description of the ideal time to harvest saffron, an action that is achievable by the human hand alone.


John Cronin: Warme Nights, Sweete Dewes, Fat Grounde, And Misty Mornings  2017  Oil on Canvas 41 x 61cms

John Cronin: Warme Nights, Sweete Dewes, Fat Grounde, And Misty Mornings  2017  Oil on Canvas 41 x 61cms

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Oct
12
5:00 PM17:00

Breathing Out Breathing In

Performance works by:
Jade Blackstock
Paula Fitzsimons
Alice Jacobs
Eunjung Kim
Matt Mahony Page
Nigel Rolfe

Green On Red Gallery is pleased to invite you to Breathing Out Breathing In, new performance works realised by Jade Blackstock, Paula Fitzsimons, Alice Jacobs, Eunjung Kim, Matt Mahony Page and Nigel Rolfe to coincide with Rolfe’s solo show, BREATH, at Green On Red Gallery until the new closing date of October 21, 2017.

Works made live in their moment of doing.

The current and contemporary performance subject is represented here by artists drawn from cultural diversity and widespread geographies. Works that question identity and the political with materials and the body as site. Disturbing and drawing in space, actions that risk and challenge not only themselves but also their audience.

Eunjung Kim

Eunjung Kim

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Sep
14
to Oct 21

Nigel Rolfe: Breath

Breathe – Nine points of dissonance ( Hide in dark corners )
Performance : Thursday 14 September at 7pm

The Green On Red Gallery is excited to announce Breath, the eighth solo exhibition in the gallery of new works by the artist Nigel Rolfe.

B R E A T H

Breathing Out – Breathing In
Breathe Freedom

A set of relational works made recently in 2017
About inside and outside
Insides and outsides
How the world outside enters us
How we seek to be and where to belong
Where in the world
Caught for breath

In Performance making
The agency of being and doing most often has four representations:

Firstly the body as site is the instrument for actions.
This located in place and across time.

Its afterlife which are perhaps threefold:

The residue of what is left in material terms, traces and remains and deposits.

Then the captured document as the photographic or filmic record – holding and marking – archiving moments of time.

Then possibly the most significant, the memory of the transient or
ephemeral images made directly in the moment . What resonates and is retained of animated and changing passing pictures – the somehow caught in between.

Take breath, breathe: actions-drawings-photographs

Nigel Rolfe is recognised among the leading artists working currently in performance, a subject he helped establish and define from his first ” sculptures in motion ” in 1969.

He moved to Dublin in the early ’70s and from here he developed and fine-tuned his practice inside and outside galleries and museums and in festivals and biennale across 5 continents. He has developed a solid reputation not only as a leading performance artist but as an activist, teacher, curator and scholar.
He has been presenting works consistently in many counties for more than forty years.

On the occasion of the opening of Breath on Thursday, September 14 next, the artist will perform a new work Breathe – Nine points of dissonance ( Hide in dark corners ) in the gallery at 7pm.

Nigel Rolfe: Breath 3, colour photographic giclée print, edition 5, 2017

Nigel Rolfe: Breath 3, colour photographic giclée print, edition 5, 2017

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May
25
to Jul 22

Painting NOW

Green On Red Gallery is delighted to announce the opening of Painting NOW, an exhibition of work in two dimensions by artists from the gallery including John Cronin, Mary FitzGerald, Damien Flood, Mark Joyce, Ramon Kassam, Fergus Martin, Niamh McCann, Caroline McCarthy & Nigel Rolfe.

In Painting NOW the diversity of approaches is brought startlingly to light. Different materials on different surfaces show how paintings can inhabit the architecture with variety and ingenuity.

Ramon Kassam‘s Gallery ( 2015 ) suggests space continuing beyond the canvas and wrapping around itself as if a deep fracture has caused time and the narrative to hiccup. The rupture is even more severe and ambiguous in New Pose ( 2017 ) where any effort to take in a single view must yield to multiple readings at once.

Niamh McCann‘s Kavalier and Clay evokes themes of flight, escape, adventure and persecution found in the original tale of this fictional duo, authored by Michael Chabon, against the backdrop of the harrowing, brutal facts of 20th century Europe. Some tales will just never die. They seem embedded in the human condition. Lady with Nose ( 2016) aims wryly at the same self-destructive streak.

There is a disappearing act of sorts in Canthus ( 2017 ) by Mary FitzGerald whose practice has increasingly placed the onus on and handed control to the viewer. In her recent solo – and anonymous – show at the Crawford Gallery, Cork, her rain-soaked view of the West of Ireland contrasted in more ways than were immediately obvious with the watercolour versions in the same room. Distant views and memories competed with mirror images of the surrounding museum architecture. Past pitted against Present.

In Damien Flood‘s new paintings luscious marks hang tantalisingly free and unanchored in the neutral or infinite ground of the bare linen support like never before. Damien’s work seems to evolve with an increasing mastery of understatement and punch at the same time.

Another artist who, for more personal reasons, chooses to paint on raw linen is Mark Joyce. In his Ballyconnell Colours – After Dermot Healy ( 2017 ), 140 x 110cms, the soaked colours and rough surfaces work together towards an image of an immensely physical light.

For the second time in the new gallery Nigel Rolfe shows paintings on paper that physically record and extend the live action of this world-renowned performance artist. His painting materials include animal lard, natural dry pigment, charcoal and paint flicked, dragged and pummelled across the surface. They have a metaphorical as much as an aesthetic function in provocative works that convey moving and perplexing messages.

During the opening reception at the gallery on Thursday, May 25, Nigel Rolfe will make a live performance.

New paintings in Painting NOW by John Cronin, Fergus Martin and Caroline McCarthy relish the medium while fundamentally questioning it. The challenge is to get beneath the surface.

Niamh McCann: Kavalier and Clay (2015) [ detail : one half of wall painting ] Watercolour paint, acrylic paint, pencil, charcoal, gold leaf, dimensions variable, according to site.

Niamh McCann: Kavalier and Clay (2015) [ detail : one half of wall painting ] Watercolour paint, acrylic paint, pencil, charcoal, gold leaf, dimensions variable, according to site.

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Mar
9
to May 13

Alan Butler: HELIOSYNTH

HELIOSYNTH is the artist’s first exhibition in a commercial gallery and comes at the end of a plethora of exhibitions and curated online shows in Ireland and internationally from Belgrade to Skibereen. Butler has garnered a reputation for being one of the most insightful and inventive artists whose “raw material” is the virtual. His use of digital simulacra has unexpected, ravishing and perplexing philosophic results and is as close to the pioneering technologies of the early 19th century daguerreotype and cyanotype as it is to the silicon technology in your pocket and on your desk.

The exhibition will include new, unique monumental works on paper, digital photograms, new sculpture and video works. He has released a small preview of a feline walk through the history of art on Mars to Beethoven’s ‘Piano Sonata no. 14 in C#m’ as follows: https://youtu.be/fcOsKj_P0FI.This work itself is the first outing of a custom video game simulation, which will be further developed over the next year.

A feature of this show are the large-scale wall works which fall under two categories, painting and print. The former, a number of works from a series called Deskscapes are light-fast pigment paint on archival cotton, and re-imagine popular desktop wallpapers as psychedelic abstractions. The latter are from a series of deep-matte lambda prints ( a hybrid digital/analog photographic process ) which use forensic analysation software to remove the photographic components from smartphone wallpaper imagery, leaving behind only the digital scarring of the jpeg-saving process.

HELIOSYNTH is a fake word. A construct combining two extremes of interest to the artist and perfectly captured in his own cyanotypes. Using this 19th century photographic technique, light-sensitive Fabriano paper is exposed to the writing effects of the sun to “ grow “ stunning plant forms which have been extracted from video games files. These works formally reference seminal works by Anna Atkins from the mid-1800s. However, instead of the legend in Latin, each boasts its own digital filename in bold script below.

Butler’s work is such that you are made to question your grasp of the world around you, itself in the grip of systems of knowledge and coding that is never far away from the override or delete button. He is an artist concerned at the most fundamental level with the art of mimesis and representation holding a poignant mirror up to humanity and its hurtle forward powerfully captured in “ON EXACTITUDE IN SCIENCE”, in which the artist has produced a shot-for-shot remake of the 1983 motion picture ‘KOYAANISQATSI’, commissioned by the Irish Museum of Modern Art for its forthcoming curated exhibition Above and Below, also in April.

Alan Butler 'Heliosynth' Installation 01.jpg
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Dec
1
to Jan 21

Ronan McCrea MATERIAL(s)

Green On Red Gallery is delighted to announce its third solo exhibition of new work by Ronan McCrea opening on Thursday, 1st December 2016 and running until to 21st January 2017. 

MATERIAL(s) is an installation of projected 16mm film-works and photography, bringing together recurrent concerns in McCrea’s diverse artistic practice.  These include investigations into the appropriated and found image, celluloid materiality, reproduction and indexicality, artistic and personal genealogies and the institutions and processes of pedagogy.

The starting point for this body of work is a collection of instructional 16mm films on mechanical engineering produced by the BBC in 1972.  Its scope covers educational documentaries on other topics, including a film about the sculptor Henry Moore.  All were salvaged by the artist from a college engineering department in the wake of film's obsolesce as a didactic tool.

Through a laborious process of cutting and splicing of this found material, McCrea draws on tropes taken from avant-garde Structural film - also from the 1970s - from the Cut-Up and from the procedures of early Conceptual art, re-constituting the fragments into new formations, with new affinities.  The resultant works, which are material objects as much as images, stage the apparatus of projection, looping and spectatorship in response to the scale and raw interior of the gallery’s architecture.  

Ronan McCrea (b. 1969, Dublin) is an artist working with photography, moving image, architecture and social space. He has been making exhibitions and projects in galleries, museums and public contexts for over twenty years. 

Selected exhibitions and projects include We Are Center, CSS Bard College New York (2016); Medium (Corporate Entities) 2008/15 in Fragments, Irish Museum of Modern Art (2015); Venn/Chroma Enclave Gallery, London (2014); Exiles, Lab Gallery Dublin (2013); solo exhibitions at Green on Red Gallery (2013 & 2011); Autodidact screenings at Cologne Kunstverein and Cobra Museum, Netherlands (2011);  School Play a public art commission for a CETNS school in Dublin (2009);  We are Grammar, Pratt Manhattan Gallery, New York, (2011); School Days, Glucksman Gallery, Cork (2010-11); Sinopale 3, Sinop Biennial, Turkey (2010); Coalesce: Happenstance, Smart Project Space, Amsterdam (2009); Nameless Science, Apexart, New York (2008); Ireland at the Venice,  52nd Venice  Biennale (2005);  general-specific  Project Arts Centre (2003);  Seminal Glassbox Paris (2002).  His work is represented in the collections of the Irish Museum of Modern Art, The Arts Council/An Chomhairle Ealaíon, UCD, OPW, as well as numerous private collections. McCrea is a lecturer in Fine Art at Dublin Institute of Technology (DIT).   

mccrea.jpg
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