to Feb 20

New Works

New Works at Green On Red Gallery Spencer Dock, Dublin 1

Fergus Martin.jpg

New Works 
Group Exhibition 

17th December 2015 - 20th February 2016

Green On Red are excited to announce the opening of their next exhibition, New Works. 
The exhibition with including works from gallery artists John Cronin, Mary FitzGerald, Damien Flood, Arno Kramer, Fergus Martin, Niamh McCann, Caroline McCarthy, Ronan McCrea, Bridget Riley, and Nigel Rolfe, with contributing artist Ramon Kassam.
An opening reception will take place on December 17th, 2015, 17:30-20:30. Mulled wine and mince pies will be served on this festive evening.
The Gallery will be closed from December 23, 2015 to January 5th, 2016. Normal Hours will resume on January 6th, 2016.

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to Dec 12

Mary FitzGerald: STILL

Mary FitzGerald

November 13 - December 12, 2015

Opening Reception : Thursday 12th November 6 - 8 pm

Green On Red Gallery, Park Lane, Spencer Dock, Dublin 1.

still mfg1.jpg

Mary FitzGerald

12 November - 12 December 2015

Green On Red Gallery is delighted to welcome STILL, an exhibition of new work by Mary FitzGerald. Like her previous solo show in the gallery, HALFLIFE in 2012, it is an exhibition of uncompromising ambition, combining large-scale installation with individual, smaller works.

STILL addresses the new gallery and the architecture of Park Lane like no exhibition previously. Through a number of basic alterations to the gallery layout and further interventions the viewer is entered into an all-embracing and qualitatively new encounter with time and space.

Mirrors and mirror images had the effect of distorting the architecture on a smaller scale in works by the artist like Self-portrait with spine (2014), photo-collage on mirror, in the inaugural group exhibition, Renew, in Spencer Dock in December, 2014. These self-portrait mirror wall works were completely dependent on the live moment and the presence of the viewer. When the viewer disconnected, moved on to the next work, something necessary and live ceased as decisively and abruptly as a scene change. These self-portraits also had the effect, from a distance, of puncturing the architecture while at the same time reflecting and capturing it. When you moved so did the reflecting voids.

Similar disruptions and constructions operate in STILL. As you enter cameras are rolling. The encounter is “on".

The gallery has been turned around and FitzGerald uses and explores corners and hidden spaces in the large new premises as opportunities for enhanced dialogue and replay. Subject becomes object and consciousness becomes self-consciousness through a loop not out of place in post-structuralist film. The aim here is to draw the viewer’s attention to ways of being in the world. The idea of passage is central – and appeared in the previous exhibition. Passage is also a core principal in Shintoism, made up of "spirit" and "to" or action. For this reason thresholds appear and reappear in STILL where each space in the gallery has been marked and constructed to suggest different realms and different layers of reality. Still mirror “paintings“ stand sentry as you step through incense towards the gallery’s patio. They echo the inhaling and exhaling kami in Shinto temples. One painting delicately holds a barely discernible x suspended between its four corners while its opposite contains an equally fragile “in“.

No surface is dormant or inactive. The gallery’s new furniture glows increasingly with a vivid pink fluorescence the more the room darkens repeating the balancing act between opposite forces that are held in vertiginous tension throughout STILL.

The artist’s series of new Still paintings are boxed and/or mirrored mixed media works with depictions or assemblages of interior worlds caught in real time with the most minimal of means.

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to Oct 24

Nigel Rolfe: The Burning Frame

The Burning Frame
Nigel Rolfe

August 27 - October 24, 2015

Reception : Thursday 27th August 6 - 8 pm

Live Performance by the artist on Friday 11th September at 8pm

Green On Red Gallery, Park Lane, Spencer Dock, Dublin 1.

Green On Red Gallery is delighted to announce the forthcoming exhibition The Burning Frame by gallery artist Nigel Rolfe, his first solo exhibition in the new Spencer Dock gallery.

The artist first exhibited in the gallery in 1994 and has been the subject of 7 solo exhibitions since in Green On Red Gallery. The show will consist of a new performance, new and old photographic works and, for the first time, pure pigment drawings by the artist.
Rolfe’s presence on the international biennale and performance circuit is virtually unmatched.  Rolfe has maintained his position and reputation as one of the most significant performance artists working anywhere, in our time.  His output has remained vital and charged with biting reference to recent and contemporary socio- and geo-political events.  The shooting dead of a female looter in Haiti with a framed painting in her hand is just one such sad and tragic example. 
The artist’s minimal and austere language is all the more profound and potent in its employment of raw and essential elements.  Flour is used to draw, Gutai-like, with his body or to explode into images of delicate but threatening dust.  Rope, eviscerated fish, buckets, gold leaf and, in his 2010 exhibition in the gallery, Prussian Blue pigment, an extract of Cyanide, expand his vocabulary in biting and radical commentary on double standards - and the resulting human catastrophe - in the West. There is no moral high ground here but a radical commitment always to question and to interrogate.  In live works like Red the act of creation is laid bare in unpredictable and poetic intensity.  The work is transient. The work is of the moment.  The work is now. 
To watch Rolfe perform flat on the floor or walking the street or submerged in the watery bogs of Kildare or of Antietam, Virginia (USA), in the Arctic Circle or the Gwangju or Venice Biennale is to view an artist enact and weave poetry that is urgently connected to that place. It is no accident that the emblematic, solitary images of heads, hands, and objects in the associated haunting photographs touch a deep chord.  
The exhibition will open to the public on August 28, 2015 and run until October 24, 2015.
As part of the first Dublin Gallery Weekend, Rolfe will be perform a new work titled Red at Green On Red Gallery on Friday 11th September at 8pm. This event is free and all are welcome to attend.  Booking essential.

Further events in the gallery to coincide with this exhibition will be announced on social media and on the gallery website.

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to Jul 18

Caroline McCarthy: USELESS

Caroline McCarthy 

June 18 until August 8, 2015


In this provocatively titled exhibition, Caroline McCarthy questions the increasing demand on art to justify itself in terms of economic or social outcomes by suggesting art as an activity that has value in its freedom to have no 'use' at all. 

Deliberately working from source material that has a functional value, McCarthy detaches it from that function, and reconstitutes it within a discourse emerging from an engagement with art practice, one in which the problems of representation, illusion, abstraction and transformation play a central role. 

Her paintings on show here draw on adhesive tape commonly found in DIY stores. Meticulously painted, these works present an illusionistic melee of different tapes with reference to trompe l‘oeil still life. At the same time, rendering in paint allows the usual practical associations of their colour coding to be extended into a visual language that takes on the wider concerns and associations of the medium. We may be aware that the chemical make-up of the material used to effect the illusion is similar to that of the tape depicted, as if the object referent has been dissolved and remade to appear outwardly the same, albeit now operating with and within altered relations. 

A comparable transformation took place to the screwdriver that was to become the model for the work Useless, after which this exhibition has been named. Bent through its failure to meet the expected requirements of a screwdriver (opening a tin) it turned into something else, something that had, for McCarthy, a quality of its own; a right to exist in its own terms. In casting and replicating this object by hand hundreds of times over like a bent-screwdriver production line, McCarthy makes an emphatic endorsement of that right.

Broken shoelaces, rusty nails, old paint pots have also undergone transformations, ones which in turn serve to both amplify and celebrate their uselessness. There is purpose here and it is a purpose that is bound up with the process of making, meaning and conjecture.

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to Jun 11

Light Falls

Light Falls
Liadin Cooke
Marcia Hafif
Mark Joyce
Sofie Loscher
Scott Lyall
Bridget Riley  

Opening receptions on Thursday 14th and Friday 15th May, 2015, 6-8pm

Exhibition runs from 15th May - 11th June
Gallery open : 10am - 6 pm ( Wednesday - Friday ) and 11am - 3 pm ( Saturday ) 

Marcia Hafif   Shade 2,   2013,  oil on canvas, 6 parts ( each  46 x 46 cms ) 

Marcia Hafif  Shade 2,  2013,  oil on canvas, 6 parts ( each  46 x 46 cms ) 

Light Falls alludes to the thinking behind the next exhibition at Green On Red Gallery.  Light is a subject that has concerned artists not confined to the short list presented here.  The new gallery is surrounded by walls of daylight on 3 sides and enjoys dramatic, light-filled views of a changing part of the city.  How light inhabits the scene is a source of constant attraction and play.  

The list of artists pitched here against this backdrop includes a broad church of artists from different generations and working in a variety of media.  All artists address the idea and the physics of natural light - or harness its movement - in specific ways.

Marcia Hafif, who is the subject of a number of solo exhibitions in Europe and the U.S. in May and June this year, shows in the gallery for the second time in 20 years. Hafif's monochromatic matte Shade series of oil paintings absorb light with their carefully hand-painted soft canvas surfaces.  The individual planes of rich colour project from the wall on the deep stretchers, seeming to hover in space. 

Bridget Riley's eloquent description of an early experience of natural light has been a touchstone for her as an artist and is brought into play here in Light Falls in her gouache 4th Revision of May, Bassacs.  She recounts :

Swimming through the oval, saucer-like reflections, dipping and flashing on the sea surface, one traced the colours back to the origins of those reflections . . . The entire elusive, unstable, flickering complex subject to the changing qualities of the light itself. On a fine day, for instance, all was bespattered with the glitter of bright sunlight and its tiny pinpoints of virtually black shadow - it was as though one was swimming through a diamond.

The dynamic interaction of line, colour and form in her paintings is echoed, three dimensionally, in Sofie Loscher's shimmering new sculptural work in wood and polaroid.  She is showing in the gallery for the first time.  

Scott Lyall's Eve prints take a single colour pixel and mathematically adjust it through an algorithm, resulting in large prints which are highly dependent on the lighting conditions in which they are shown.  He says 'The Eve's  . . . , like Platonic forms, can circulate in cyberspace at will, awaiting their moment of local incarnation.'

Liadin Cooke's delicate organic " Stacks " of water and colour convey a sense of the subtle and elusive quality of light itself.  She states "it struck me that I needed to look at the basic things in my life".  Cooke subsequently translated ' ordinary ' objects into the fundamental elements of form and colour. 

Mark Joyce will deliver a talk in the gallery in June to coincide with his participation in the exhibition. His work, which explores the anomalies and phenomenological strangeness of our optical experience fit perfectly into this exhibition.

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to Mar 28

Tom Hunter: Axis Mundi & Bathing Places, Dublin Bay

Axis Mundi & Bathing Places, Dublin Bay solo exhibition by Tom Hunter

February 19 - March 2015
Opens Thursday, February 19, 6-8pm

Inner Circle   2013  C-type print  Edition of 4  76.2 x 96.5cms

Inner Circle  2013  C-type print  Edition of 4  76.2 x 96.5cms

The Green On Red Gallery is delighted to announce the opening of Tom Hunter’s fourth solo exhibition, Axis Mundi & Bathing Places, Dublin Bay, at the Spencer Dock gallery on Thursday, February 19, 6-8pm.  The show consists of two separate bodies of work, one made in the last 2 years in the artist’s native England, the other made while on the Artist’s Residency Programme in the Irish Museum of Modern Art in Dublin in 2006. 
Tom Hunter is perhaps best known for his alluring and beautifully composed images of the marginal in society, specifically in the neighbourhood of Hackney, East London, home to the artist for the last 20-30 years.  Hunter’s honest depiction of life in the bars, the streets and halls of Hackney, far from being voyeuristic, reveals the drama and the dignity of ordinary lives.  What is special about these varied scenes of seedy or borderland London is how they wear the garment and authority of art history.  Each photograph references a painting in the collection of the National Gallery, London and, more generally, the artist’s deep admiration for the quiet, mysterious interiors of Johannes Vermeer’s 17th C. Delft, for example.
Axis Mundi & Bathing Places, Dublin Bay are produced in a medium size and photographed using a large-format, pin-hole camera.  They are as close as the artist has come to shooting pure, romantic landscape subjects.  Nature is seen at its most exposed and elemental, possibly at dawn.   The pin-hole camera, like a “ heavenly portal “ lends a drama and distortion that magnifies the subject and lifts it out of the ordinary.  The bending horizon, the even grey Dublin light, the pull of the ample sea, the bursting pink light on the English horizon gives both series a timeless and ageless dimension.  Heaven and earth are joined in these images in a cosmological declaration.
The mark of man, however, is evident even central to the story of these works.  The menhirs are testament to a prehistoric civilisation about which little is known for fact except, on the evidence of its surviving monolithic architecture, that it clung predominately to north Western Europe and parts of North Africa.  It is easily imagined as a time of giants, great legends and heroic battles.  As a child the artist walked the ancient roads leading to these focal points in the land.  But the artist’s more immediate predecessors here are the communities of travellers, revellers and revivalists with their own rites and heroics.    
Later, as I started walking this landscape, the hill forts of Hambledon Hill, Hod Hill, Badbury Rings and Spetisbury Rings took me back to an imagined world of Asterix and Obelix fighting great battles of independence and liberation.
As a teenager in the late Seventies the tribalism and eccentricity in England seemed to explode, with hundreds of bikers roaring through our village on a Bank holiday, like a huge invading army of Goths, to the Mods, Skinheads and my new adopted brethren the Punks. Some of these tribes were drawn to the Stonehenge Free Festival.
( Tom Hunter )
The hand bars, on the other hand, at Sandycove and Seapoint remind us of the invisible community of open water swimmers and another monumental, epic journey which begins with the following description :
Lend us a loan of your noserag to wipe my razor.
A new art colour for our Irish poets : snotgreen.  You can almost taste it, can’t you ?
He mounted the parapet again and gazed out over Dublin bay, his fair oakpale hair stirring slightly.
- God, he said quietly.  Isn’t the sea what Algy calls it : a grey sweet mother ?  The Snotgreen sea.  The scrotumtightening sea.  Epi oinopa ponton.  Ah, Dedalus, the Greeks.  I must teach you.  You must read them in the original.  Thalatta !  Thalatta !.  She is our great sweet mother.  Come and look.
                                                                                                            ( Ulysses, James Joyce )
Journey is the leitmotif for Tom's work as an artist.  His journey, of course, is more an internal one.
Tom continues to exhibit internationally and has recently exhibited at the Wellin Museum of Art, Clinton, New York, Scandinavia, elsewhere in Europe and in China.  In 2015 he will take up a commission to complete a project during a residency in Jordan on the life of Laurence of Arabia, a fellow-Dorset man.
The artist will give a talk on his work on March 6th, 1-2pm in the Green On Red Gallery in Spencer Dock.  Free.  Booking advisable.  On March 12th Donal Curtin, Senior Partner, BCK Chartered Accountants and Chairman of the Board of Chambers Ireland will give a talk in the gallery on The Art of Collecting at 6pm.  All welcome.

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to Jan 31


Renew at Green On Red Gallery Spencer Dock, Dublin 1

Opening Reception: Thurs 11 December, 6 - 9pm
Exhibition Dates: 12 Dec - 31 Jan 2015

Gerard Byrne
John Cronin

Mary FitzGerald
Damien Flood
Mark Joyce
Niamh McCann
Caroline McCarthy
Ronan McCrea
Alice Maher
Bridget Riley


The Green On Red Gallery is delighted to announce the reopening of the gallery in Spencer Dock, Dublin 1 ( 150m north of Spencer Dock Luas stop ) on December 11, 2014 with Renew, an exhibition of new work by gallery artists Gerard ByrneJohn CroninMary FitzGeraldDamien FloodMark JoyceNiamh McCannCaroline McCarthyRonan McCreaAlice Maher and Bridget Riley.  Renew will be the first exhibition in the new gallery and continues until the end of January 2015.  

Renew will feature a new suite of 9 prints by Alice Maher shown here for the first time. These are the first new works by the artist seen since her highly successful solo exhibition, Becoming, in the Irish Museum of Modern Art in 2012 and her recently published monograph, Resevoir, published in 2014 by ROAD Publications, Dublin.  The new works are marked by a riot of colour and play with motifs of corporeal and symbolic metamorphosis.  In God's little helper the female protagonist is overcome with a coat of human hair, as Magdalene was before ( or after ? ) her.

Gerard Byrne's new Kodak Wratten Filter Systems unique photographs come as close in photography to abstraction as is possible due to the lighting and arrangement of the single colour, century-long, glass filters.  Byrne's approach to the medium regularly makes poetic and witty side-references to the history of painting, theatre and photography itself.  The result here recalls minimalist ideas of reduction and repetition and a solipsistic pragmatism.

Mark Joyce presents two new paintings on panel that recall some of his earlier '90's oil on canvas paintings.  Their playful shapes echo letters and numbers but never spell out their message, as a Mel Bochner might.

Damien Flood's new paintings are stripped back with a fresh and exciting economy.  They hang on a knife-edge between bringing us to familiar and mysterious, unknown worlds.

Mary FitzGerald uses hard-edge and fragile materials that make the most of their reflective qualities and expand the moment of perception.  The viewer is involved and engaged in unexpected twists and turns.

In anticipation of her forthcoming solo show at the gallery, Caroline McCarthy presents Woods in November ( 2014 ) acrylic on canvas.  This is a dazzling trompe l'oeil rendition of the most inconsequential subject brought centre stage.  We are made to question our own belief systems and moral code in an upside-down world so convincingly portrayed.

Ronan McCrea will exhibit new photographs from his " reprographic " project that meditates on current questions about the fin de siécle, as he sees it, of the photographic era in late or post Post-Modernism.  These works have an authority borrowed from the conventions of the medium but can point to new conclusions.

Large Fragment by Bridget Riley has an undeniable elegance and mastery that, while harking back to the cut-outs of Henri Matisse, is both fresh and compelling.

The Gallery will open to the public from Wednesday-Friday10-6pm and on Saturdays 11-3pm.

We look forward to welcoming you to the new gallery and to Renew.  Bí linn.

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