to Nov 23

Fergus Feehily

Numbers 2002 Oil on MDF 25 x 20 x 1.5 cm

Oil on MDF
25 x 20 x 1.5 cm

The Green On Red Gallery is pleased to announce that Fergus Feehily's third solo exhibition at the gallery will be on view from 21st November until 23rd December. This work is a continuation of work made in Tokyo, where the artist was living and studying from 1998 until earlier this year. The artist has since been working at Ballinglen Arts Foundation, Co. Mayo and in Dublin. Feehily's exhibition will include paintings on MDF and drawings on paper.

Feehily's paintings are slow to reveal themselves: it is as a continuum of one body of work into the next that concepts unfold. His paintings encourage a sensual viewing experience. Fergus has said of his work "I am trying to make something that invites sustained looking….I am interested in concentrated looking, and all elements of my work are used to delay and prolong [that] experience."

Feehily has also stated, "I am interested in making works which connect conceptually in unique ways, sometimes uncontrollable ways, and do not necessarily look the same." In this show, an apparently monochrome painting slowly reveals a highly complex under-drawing. A drawing on paper shows itself to have been printed. Printed cup rings at first appear to be ordered, only to show themselves as random and intuitive. Feehily uses enamel paint, fluorescent paint and oil paint on MDF - its smooth, neutral surface affords the artist more scope to manipulate these 'substances'.

Drawing is the underlying core of this new and intriguing work. His work is absorbing and increasingly difficult to pigeonhole. It consistently blurs the line between non-representation and image, between text and drawing, painting and print. Feehily is prepared to challenge himself and the viewer by making work which resists easy assimilation.

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to Oct 16

EIlis O'Connell

Circulate 2002  Plaster 36 x 23 x 16 cm

36 x 23 x 16 cm

The Green On Red Gallery is eagerly anticipating Eilís O'Connell's up-coming solo exhibition at the Gallery in Dublin from 10th October through 16th November. Because a large part of the artist's practice has in recent years been taken up with major public and outdoor commissions, this exhibition of works in plaster, and several full-scale bronze sculptures, will provide an exciting opportunity for the viewer to see her original ideas in germinal form alongside completed works.

O'Connell's works are currently on view in the ground floor atrium of 1 Canary Wharf, London and at Lismore Castle, Co Waterford.

For further information on Eilís O'Connell, please contact the Green on Red Gallery
26-28 Lombard Street East Dublin 2 T: 671 3414/ 671 3448 F: 01 672 7117
E: W:

'Unfold', a recent bronze (2001) by Eilís O'Connell will be exhibited in the Venice Aperto as part of the UK sculpture selection for the 8th Venice Biennale of Architecture 2002. One of Eilís's most recent and beautiful sculptural forms, this upright, conical-shaped work was cast from a sheet of bronze. Its undulating curves are folded to a point upward and outward at the top, curve inward at the middle and flair out at the base. Its outer surface is marked by a basket-weave pattern; its inner surface is a smooth black patina. The sculpture seems to offer protection while simultaneously suggesting a presence in motion. This work will be on view at the Aperto from 6 September 2002 through 6 January 2003.

'Sculpture at Goodwood' has invited Eilís O'Connell to participate in an exhibition of Contemporary British Sculpture showing at the Peggy Guggenheim Collection, Venice. The exhibition entitled 'thinking big: concepts for twenty-first century british sculpture', will exhibit 73 maquettes commissioned by Goodwood. Participating artists include Lynn Chadwick, Grenville Davey, Antony Gormley, William Tucker and Rachel Whiteread. These maquette commissions are

…made as limited editions and can be treated as finished works in their own right, assuming an identity as small-scale sculptures, while others are intended as 'dress-rehearsals' for more ambitious, monumental works….(Press Release, Sculpture at Goodwood, 2002)

'thinking big' will run concurrently with the 8th Venice Biennale of Architecture and into January 2003.

Circulate 2002  Plaster 36 x 23 x 16 cm

36 x 23 x 16 cm

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to Oct 5

John Noel Smith

Knots: United Field Painting II John Noel Smith 2001 Oil on canvas 180 x 90 cm

United Field Painting II
John Noel Smith
Oil on canvas
180 x 90 cm

For the past twenty years the painter, John Noel Smith, has been living and working in Berlin. This summer he is returning to Ireland to live with his family in Shrule, Gorey, Co. Wexford. To celebrate his return to Ireland, two major exhibitions of Smith's paintings will be on view in Dublin.

In September, John Noel Smith's fourth solo show will open at the Green on Red Gallery, Dublin. This is his first show at the Gallery in nearly three years. Opening on 6 September - 5 October 2002 this new body of work is informed by a number of concerns to the artist. The notion of identity, language and a sense of place, and displacement, have always filtered through Smith's oeuvre. His systems - whether of Oghams, Tapestries, Palimpsests - when put together, represent a language made up of strong emblematic signs. In this latest body of work, Smith re-employs his earlier series, Ogham, Knots and Spaces to combine these elements into a stunning exhibition of bold and arresting compositions

Running con-currently to the Green on Red Gallery exhibition, John Noel Smith will have a major retrospective exhibition in the Royal Hibernian Academy, Ely Place, Dublin which will run from 6 September to 20 October. This exhibition will review Smith's work from the period 1992 - 2002. Nissan Ireland is graciously sponsoring the exhibition. This is the first in a series of annual exhibitions of Irish artists sponsored by Nissan Ireland. A colour catalogue will accompany the R.H.A. exhibition with an essay by Caoimhín Mac Giolla Léith and an interview with the Director of the R.H.A, Patrick T. Murphy.

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to Aug 31

Group Exhibition: new

0012/02/H.H. Hans Hemmert  2002 Pencil and ink on paper 29.8 x 21 cm

Hans Hemmert
Pencil and ink on paper
29.8 x 21 cm

new will consist of an exhibition of new work by a slew of artists both Irish and non-Irish. In keeping with the culture in the Green On Red Gallery, a selection of work by an international range of artists that represents some of the most exciting developments in contemporary art has been chosen for new. Moyna Flannigan and Jonathan Monk show in Ireland for the first time. Hans Hemmert shows in the Green On Red Gallery and Ireland for the second time.

Jim Buckley will present a new video work projected on the wall of the gallery in keeping with much of the light-based installations he has done in the past either in confined interiors or unconfined exterior locations.

Fergus Feehily, based in Dublin, but just returned from 4 years and an MFA in Tokyo, will exhibit 4 exquisite new works. Two paintings measuring 25 x 20 x 1.5cms are intimate in scale. Feehily uses oil or gouache painted onto MDF panels that have been cut with sharply chamfered edges. The works on view here display a way of mark-making that is light, transparent and, at times, inventive. He will have a solo exhibition at the Green On Red Gallery in November 2002 and in New York in 2003.

Moyna Flannigan ( represented by doggerfisher, Edinburgh) teaches painting in Glasgow School of Art and will exhibit her compelling imaginary portraits in watercolour on paper. These are richly coloured, affected paintings of people who don¹t exist. They belong, instead, in the imagination of the author and viewer and it is in this dialogue that we are invited to give body and life to these curious portraits.

Hans Hemmert from Berlin exhibits a group of new drawings combining playful ideas of animation and futuristic, computer-generated, suggestive amoeboid yellow forms. Hemmert is represented by the Carlier-Gebauer Gallery, Berlin where he will have a solo exhibition in 2003 travelling to Green On Red Gallery in Dublin.

Veronica Larsson will be exhibiting a floor installation in this her first showing at the gallery. She has recently graduated from the MA programme in NCAD with an intriguing sound and mixed media installation.

Caroline McCarthy, who has shown once before in the GOR Gallery in a group show curated by Finola Jones called In Search of the Experience, Reconsidering the Readymade ( Jan. 1999 ) is a recent winner of the new AIB Art Prize, will show two photographic works seen lately in Temple Bar Gallery and Studios. These are witty still life subjects in the vein of C. 17th Dutch Œ memento mori Œ paintings. The artist has replaced real fruit with papier-maché versions using another mundane, low-grade material drawn from supermarket shelves ­ toilet paper. Only in Ireland is toilet paper available in so many exotic colours allowing her to depict and mimic her subject so well. McCarthy is also represented by Lotta Hammer, London.

New works by John Cronin ( Dublin ) and Jonathan Monk ( Glasgow ) will also be exhibited as part of this exciting cornucopia of contemporary talent.

The autumn schedule includes John Noel Smith, New Paintings, Green On Red Gallery, September 6 ­ October 5, 2002, John Noel Smith, Retrospective Exhibition, RHA Gallagher Gallery, September 5 ­ October, 2002, Eilís O¹Connell, New Sculptures, October 10 ­ November 9, 2002 and Fergus Feehily, New Paintings, November 14 ­ December 23, 2002.

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to Jul 27

Paul Doran

Knockout Oil on canvas 30.5 x 30.5cms 2002

Oil on canvas
30.5 x 30.5cms

Green On Red Gallery is pleased to announce its first solo exhibition of recent MFA graduate and painter Paul Doran. Definitely one to watch, Doran will exhibit approximately seventeen paintings. The exhibition opens to the public on Thursday, 27 June, 2002 and will run for approximately one month.

Paul graduated from the MFA Programme at the National College of Art and Design in 2001. As an up-and-coming artist, Doran's work enjoyed considerable acclaim when he exhibited at Hallward Gallery in 1999, as part of the Degree Show, Hugh Lane Municipal Gallery of Modern Art, Dublin, in 2001, in Contemporary 2001 at Green On Red Gallery, in ARTCologne, Germany, 2001 and, more recently, in The Armory Show, New York, in February of this year.

Doran's paintings are intimate in scale, typically measuring 30.5 x 30.5cms. They are painterly constructions of heavily worked skeins of paint which the artist trowels wet across the canvas. Doran paints with a rich and brilliant palette of oil colours which, when applied overtop one another, creates an amazingly dense, almost sculptural skin to the canvas. In some instances, the paint extends out and over the canvas board by several impastoed inches. Aidan Dunne has described Doran's work as, '"process painting" ... in which we are prompted to regard the painting itself, and the discipline of its making, as the substance of the work.'

As Doran himself explains :

" The edges of the canvases spill over with paint residues. These residues affect the material presence of the painting as object, as the paint no longer represents a window onto an interior space but comes off the edges of the canvas interrupting the works¹ exterior space and thus that of the viewers. "

Titles like Freeze, Knockout, Gorgeous, Supernova suggest either some of the associations that are possible when responding to these paintings or something of the effect of their self-asserting presence. While Doran¹s work fits into a genre of painting that is recognised internationally at present, his originality, even within this school at this early stage, is remarkably confident.

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to Jun 22

Corban Walker

Untitled (Space Model No. 2) 2 -Way mirror, glass and plywood 86 x 64.5 x 64.6 2002

Untitled (Space Model No. 2)
2 -Way mirror, glass and plywood
86 x 64.5 x 64.6

Green On Red Gallery is delighted to announce its fourth solo exhibition of Corban Walker¹s work and a return to the artist¹s trademark large-scale installation work. The exhibition consists of one large site-specific 10.4m x 4m x .13m installation made with glass, two-way mirror and wood plus free-standing mixed media sculptures and new photographs.

The overwhelming scale and the effect on the gallery space is sure to make this exhibition at least as spectacular as his Mapping 4 installation at Pace Wildenstein Gallery, New York, in September 2000, if not more so. It is when Walker is working at this scale and working with the fabric and physical limits of the architecture he occupies that he is at his best. This was true of the above-mentioned exhibition in New York, of his first exhibition in the Green On Red Gallery in Fitzwilliam Square in 1995 with Ocular Field and Ocular Field II in Le Confort Moderne, Poitiers and will be true, surely, of his permanent installation for Mitsubishi, Tokyo, later this year.

The smaller, freestanding sculptures in the exhibition have something also of the ambiguous, disorienting quality of his architecturally-engaged work. They act like models for potential installations and ideal spaces. They are intriguing, seductive objects in themselves but don¹t reveal a tangible, definable sense of scale. The interplay of reflective and transparent mirrored and see-through surfaces placed at a low height corresponding to the scale of the " Corban Rule " is hard to tie down. They appear as models but also draw the viewer into an exploration of their intimate clean constantly changing chambers and avenue-like spaces.

Furthermore, there is a relationship between these works and the photographic works on display. Walker shows here his keen eye for composition and dramatic use of colour plucked from the everyday environment but exquisitely rendered. The extreme cropping and oblique views of elevation details distort and abstract the original. Walker¹s work, even in these photographic compositions, constantly evade our firm grasp and slip away, ultimately, into the indescribable and intangible.

Walker has recently completed Blip, a commission for the South Dublin County Council, outside the Civic Centre, Clondalkin. This piece is a first cousin of a similar work on the rooftop of No. 1 Castle St. D. 2 best seen on the approach on Werburgh St. coming from St. Patrick¹s Park. He will complete his installation for the Mitsubishi Estate, Tokyo later this year. He has also been invited to install a site-specific work for Artcore Gallery, Toronto in 2003.

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to May 18

Patrick Hall: Clouds

Green On Red Gallery is pleased to announce the exhibition called Clouds by Irish artist Patrick Hall and first shown in the Butler Gallery, Kilkenny, in February/March, 2002. The exhibition consists of three large oil on canvas paintings and small watercolour and ink paintings on paper. Hall last exhibited solo in the Green On Red Gallery in November 1995. His exhibition Paradise was in the Douglas Hyde Gallery, Dublin, in Nov. 2001.

Patrick Hall is one of Ireland's most acclaimed painters. He was a central figure in Dublin throughout the 1980's and 1990's exhibiting regularly in the Temple Bar Gallery and Studios culminating in an important exhibition, called Mountain, in the Douglas Hyde Gallery in 1995. He has since moved to Roscommon where he has been working towards this travelling exhibition.

Grave and biblical references continue to appear in the artist's work. Such is the strength and understatement of each painting that they carry themselves independently. Their wit, their reductivist composition and palette, their expansiveness and extremes of scale give them a particular narrative force. This carries the work beyond any limited, inherited, hermeneutic interpretation. These works belong to a particular, even rare vision.

Expanses of grey, brown or black - the earthen colours that predominate in this show - demand a kind of rapt, mute, silent response from the viewer. It is in these silences that we can become nervous, ill at ease and twitchy as we are confronted with the void and the unknown. But it is also in these spaces, often described by Hall in a crude, awkward way, that there is so much possibility, so much potential discovery.

It feels as if colour and incidental, unnecessary detail has been sucked out of these paintings. What is left has a fragile grip on the surface.

In Angels Ascending and Descending with Heavenly Spectators black stick figures are seen up and down a veil of black ropes the full 61/2 foot height of the canvas while two masses of white and beige spheres or presences float in a fleshy sea behind. This is the most luminous work in the show and is teeming with movement. It is also the work with the most ethereal and primitive, amoeboid forms. It could be a beginning or end, a climax or opening scene but the drama is concentrated and pulsating.

Born in County Tipperary in 1935, he studied in the Chelsea School of Art and the Central School of Art London between 1958-1960. In 1982 he was appointed member of Aosdána. Hall currently lives and works in County Sligo. His work has been previously exhibited in England and in the USA.

A Green On Red/Butler Gallery publication will be published this year with text by John Hutchinson to mark this new work.

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to Apr 13

Arno Kramer: Aftermath: Drawings

Untitled  Charcoal, watercolour and pencil on paper, bronze 2001

Charcoal, watercolour and pencil on paper, bronze

Green On Red Gallery is pleased to continue its winter/spring season with Aftermath : New Drawings by Dutch artist and poet Arno Kramer ( b. 1945, Winterswijk ). This is the artist's first solo exhibition at the Green On Red Gallery since his first appearance in 1997 in a group exhibition at the gallery. The exhibition consists of drawings in watercolour, pencil, charcoal and pastel on paper up to 3 metres long, bronze and a site-specific wall drawing in the gallery entrance. Aftermath : New Drawings coincides with Ireland Drawings 1995 - 2001 currently showing at the Model Arts Centre and Niland Gallery, Sligo and previously shown at The Limerick City Gallery, Limerick. The artist has also been invited to do a live wall drawing in Limerick for E.V.+A. 2002.

Kramer once wrote that he would like to make visible " the reconnaisance of the back of the soul, the spirit and the heart". It is in his decision to employ the medium of drawing, using pencil, watercolour and pastel, that Kramer embarks on his quest. He combines references to the figure, to the portrait, overlayed with more mathematical drawings of three dimensional shapes, spaces and vessels. He executes line upon line, shape upon shape, medium upon medium, until the image is complete. Including utterances of the poetry of Seamus Heaney, Kramer combines science and nature, drawing and text, wall drawing and floor sculpture to create an interesting and reflective dialogue. This is true of The way is opener for you being in it ( Seamus Heaney ), a large 2.4m x 3m 1999 charcoal, watercolour and pencil drawing on paper by the artist. In these contemplative works each line is a new direction, a different thought, a fresh impulse.

Arno Kramer lives and works in Broekland, a small village in the Eastern part of Holland. He teaches at the AKI Academy of Fine Arts in Enschede, Holland. Since 1995 Kramer has participated in several Artist in Residence programmes in Ireland. His work has been previously exhibited in Holland, England, USA, Germany, Sweden and Ireland.

Arno Kramer will give a Gallery Talk on his new work on Friday 15th March at 1.15pm.

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to Mar 9

Gerard Byrne: In the news

Untitled - Natural History Museum #1 2001 C-print

Untitled - Natural History Museum #1 2001 C-print

Opening February 7th, Green on Red Gallery will present an exhibition of new photographs by Gerard Byrne. This will be Byrne's second one-person exhibition at the gallery. Byrne was still resident in New York in September 2000 when the gallery hosted Theatre Bunker Archives Reception Area. The artist was completing a long stint in the US following a series of awards that he received, including The Fulbright Scholarship, PS1 award and a studio on the Whitney Programme. Theatre Bunker Archives Reception Area consisted mostly of night-time shots of transient street-front interiors in New York City.

By contrast, Byrne shifts his focus in this exhibition to the out of doors, in broad daylight and plays on the viewers' perception and imagination in a very different way drawing on the role of myth today. The following are newspaper reports from Loch Ness, circa 1934:

"...a long hump gradually surfaced and moved slowly in the water before disappearing. It was described as being about 18 feet long, and 2 feet in diameter, with a brown, smooth skin.
...[ I ]saw a reddish-brown hump, similar to an upturned boat, appear about one mile from their position. There was a great deal of splashing in the water around the object..."

As Bertold Brecht says

"...less then ever does the mere reflection of reality reveal anything about reality. A photograph of the Krupp works or the AEG tells us next to nothing about these institutions"
( Quoted in Walter Benjamin, Little History of Photography, 1931. )

Eye witnesses stand around after an accident, a stage set for "Twelve Angry Men", Loch Ness, another lake, this time in Wicklow, a view of the Guinness brewery...

Byrne's new project consists of a diverse sequence photographs, which he intends to continuously re-edit on each occasion they are shown. The sequence of photographs have a sprawling and sometimes obscurely multi-leveled network of inter-connections. Some are linked through geography, some through genre, others still through ownership. Underlying the whole sequence is an attempt through photography, to explain something of photography itself, of what it's role is in contemporary culture. In pursuing this line, Byrne returns in several of

his photographs to archetypal moments in the historical development of photography. There are for example several images of Loch Ness, Scotland. Byrne's interest in Loch Ness derives from it's peculiar history as a media phenomenon; a collective fantasy about primeval predators in modern times. Byrne's images of the lake speak little of the history of the media phenomenon that surrounds it, although several photographs seem to include suggestions of those more notorious images of the lake already published. Like each of the photographs in this exhibition, they seem to invite viewers to test their previous knowledge of the subject against its photographic presentation. Indeed each of Byrne's images seems to engage viewers in a complex dialogue between knowledge and image, between one photograph and the next, and between the journalistic and the poetic.

Gerard Byrne will give a talk on his new work on Friday 15th February at 1.15pm.

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to Feb 2

Group Exhibition: Works On Paper 2002

David Timmons, 'Tate' 26 x 39cm 2001 Photographic print Edition of 3

David Timmons, 'Tate' 26 x 39cm 2001
Photographic print Edition of 3

As the title suggests, Works On Paper 2002 is an exhibition at the Green On Red Gallery of paintings, drawings and photographs on paper. The majority of the works have been completed recently in 2001.

The list of participating artists includes Mary Rose Binchy, John Cronin, Patrick Hall, Mark Joyce, Arno Kramer, Alice Maher, John Noel Smith, David Timmons and Corban Walker.

The line-up of artists is partly intended to give a foretaste of exhibitions to come in the Green On Red Gallery in 2002. The Dutch artist - and recent winner of the Mondrian Foundation Award -Arno Kramer, will have a solo exhibition in Green On Red (GOR) beginning March 14 - one week after his solo show opens in The Model Arts & Niland Gallery, Sligo. Kramer previously exhibited in group exhibitions in GOR in 1997 and 1999.

Patrick Hall will exhibit new work in his solo show at the GOR following his exhibition in The Butler Gallery, Kilkenny (25 Feb. - Mar. 2002).

Corban Walker will launch his 4th solo exhibition with GOR on 23 May 2002.

John Noel Smith's Retrospective exhibition at the R. H. A. Gallagher Gallery (5 Sept. 2002 - ) precedes his solo exhibition of New Work in the GOR also in September 2002.

David Timmons will have a solo exhibition of new paintings in Agnews, Old Bond St., London in the autumn of 2002.

Unusually for David, his works on paper consist of two photographs taken obliquely with a small, hand-held Olympus SLR camera which accompanies the artist constantly. Both images, entitled Tate and Bristol, have an immediate, almost accidental quality that seems to narrow the gap between reality and artifice.

Corban Walker continues to work with handmade geometric drawings - of which there are four - where the colour or texture comes from the paper itself. His intervention on the page is delicate but assured.

In the quirkier school of painting and photography, respectively, is the work of Patrick Hall and Mark Joyce. Hall's paintings are dark, dense, extremely lyrical and witty. Joyce's three photographs capture a decidedly local, unheroic and all the more curious aspect of Ireland of the midlands. His photographs have all the trademarks of Joyce's humourous, offbeat, but rich, vision.

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