Scott Lyall

“ Scott Lyall is a Toronto-based artist who creates dreamy abstracts that suggest reflection, timelessness, spatial infinity and evolution. Lyall harnesses technology to create halcyon works that are warm and calm, far from the gelid innervation their machine paternity might suggest.

Talents, a 2023 series of works, appear at first as mushy, monochromatic fogscapes, differing only slightly one to the next. But on closer study, the pieces come to life as the subtle color variations and muted shadows become more and more pronounced. This awakening effect is enhanced as the differences between the works in the series become apparent, like looking at the individual frames of a movie before seeing the whole.

Each Talent is made up of two sheets of glass, one a mirror the other a blank sheet printed on the inside with a software-generated progression of colored pixels. The pieces are then cropped by the artist, which Lyall describes as a “cut into the infinite” that scales the work. The work is completed by the addition, by hand, of gel medium and nanoparticles of gold.

Lyall earned his MFA from the California Institute of the Art. His work is in the collections of the Whitney Museum of American Art, the National Gallery of Canada, and the Albright-Knox Art Gallery. ”

• Untitled                

  2015 UV-cured inkjet on glass, mirror, casein paint wood.

  68.6 x 59.7 x 5.1 cm

• Talent 53

  2003 UV-cured inkjet on glass, mirror, acrylic gel medium, gold nanoparticles, cassein paint on wood.

  146.7 x 105.4 x 5.1 cm

• Nanofoil          

  2018 UV-engraved photonic structures in aluminum  foil, polymer coating, casein painted frame.

  33 x 30.5 cm

Procedural Landscapes for Android ( Yosemite National Park v.1 )

2023 Android App, Realtime Video Simulation Edition 3 of 3

Fountain

2025 Patinated and polished bronze Edition 1 of 10

 27 x 29 x 25 cms

Marshberry01_D

2019 Unique cyanotype on Fabriano paper

94 x 64 cm

Damien Flood is a Dublin-based artist whose work combines abstract and representational painting. His practice examines the materiality of paint, exploring themes of perception, the self and the environment. Flood’s work often challenges viewers to rethink the ways in which they engage with the world around them, drawing on a deep interest in the history of art and its ability to question cultural and philosophical ideas.

He currently has a Solo Show called As Above, So Below at the Green On Red Gallery, Dublin. The exhibition continues Flood’s exploration of painting and its materiality. His work looks at how art can help us understand and question the world. He uses both abstract and representational forms to offer new ways of seeing.

Themes of death and the afterlife are central to this show, continuing Flood’s ongoing interest in these subjects.

We will host a solo presentation of his work at Art Brussels later this year, from April 24–27, 2025, at Booth 5E-37, Brussels Expo, Belgium.

Eternal Gardener

2025 Oil on hessian, gold leaf, artist’s linen frame 185 x 142 cm

Posey

2025 Oil on hessian, artist's linen frame 71.5 x 62 cm

Icon

2025 Oil on canvas, artist's linen frame 71.5 x 61.5 cm

Petrified Trees

2025 Oil on canvas, ceramic, linen frame 63.5 x 41.5 cm

Twisting Branches

2025 Oil on canvas, ceramic, linen frame 56.5 x 45.5 cm

Herman

2025 Oil on canvas, ceramic, artist's linen frame 53 x 43.5 cm

Caroline McCarthy

“While I work across all media (video, photography, painting, sculpture, installation) the influence of having studied within a Fine Art Painting department at a particular time in the early nineties, and as a woman, has become more obvious to me over time. My practice throughout has been rooted in a conceptual criss-crossing of thought which returns again and again to the same everyday objects such as packaging, postcards, rubbish, toilet paper, plastic bags, with the same questions around the nature of representation, visual hierarchies and constructed narratives, embedded within the surface of such everyday ephemera.”

- Caroline McCarthy

Also, on her hazard paintings;

“In 2014 I made a series of Hazard Paintings (ill. 1) which were paintings of hazard tape. Their installation in the gallery - protruding off walls, or in the middle of floor space - was such that in the immediate sense these paintings were understood as dangerous and to be avoided; however a more reflective approach would reveal them to hover between abstraction and representation. The boundary between medium (canvas, paint) and subject (hazard tape) is gone, so how to relate to this hybrid thing is complicated.”

Composition with Red, Yellow, Black, Blue,  Green, Pink, Brown  and Silver # 1

2024 Acrylic on linen 54 x 54 cm

Composition with Large Red Plane, Yellow, Black,  Grey and Blue, # 8 

2024 Acrylic on linen  43 x 33  cm

Painting ( Titan )  

2024  Oil on canvas  3.5 x 5 x 1.5 cm

Painting ( Target )  

2024  Oil on canvas  3.5 x 5 x 1.5 cm  

Painting ( Camp )

 2024  Oil on canvas   3.5 x 5 x 1.5 cm

Bridget Riley

In her description of Clair Obscur ( 2015 ), acrylic on polyester, a painting in the same family as Bagatelle 2, Bridget Riley draws attention to the fleeting shadows and shade that cloud and illuminate the painted surface.

Elsewhere, Riley says :  "I wanted the space between the picture plane and the spectator to be active. It was in that space, paradoxically, that the painting ' took place.'  Then, little by little, and to some extent deliberately, I made a layered shallow depth. It is important that the painting can be inhabited so that the mind's eye, or the eye's mind, can move about in it credibly."

Bridget Riley : Reconnaissance :  Lynne Cooke and John Elderfield, Dia Centre for the Arts,  New York USA, 2001, p. 49. 

Kirstin Arndt

Arndt brings to her mixture of sharp, flowing industrial materials a predilection for clean and colourful forms. Her sculptures, made from a wide variety of readily available industrial materials, fold, bend, fall or crease in space depending on the support or the effects of gravity on her limp or resistant forms. “Our human existence is based on matter/materia and energy. Nature, as well as the environment that we humans create, the space, the things, structures, can be retraced to point-shaped, linear, or two-dimensional basic structures. From this, I begin my artistic work”. She continues : “The acts of wrestle and of release must occur again and again until a moment is achieved where these phases are completed; where concepts, their realisation, materiality and form unite in a perfect state in space. This state can be an end point but often this state exists only for a limited period of time and in relation to spatial conditions, which can alter the works’ shape”.

- Kirstin Arndt, Tique, 2023

Untitled

2022 3mm powder-coated steel Each

20 x 80 x 19 cm

Untitled

2024 3mm powder-coated steel Each,PVC Unique

115 x 70 x 10 cm

Nil Yalter

Nil Yalter was born in Cairo, Egypt, in 1938.  She has spent most of her life between her native Turkey and Paris. Widely appraised as the first Turkish female video artist, Yalter’s work is partly defined by the perspective of being a female immigrant.  Throughout her career, Yalter has created an extensive body of work that seeks to shed light on cultural identity, ethnicity, immigration and feminism. Characterised by her use of tools such as photography, video, drawing, interactive media and text, her work challenges conventional historical narratives and pushes the boundaries of storytelling in contemporary art.

Originally a painter and educated at Robert College in Istanbul, Nil Yalter first moved to Paris in 1965 where she still lives and works.  Immersed in circles of counter-artworld activists and feminists throughout her youth, Yalter is considered the author of the first interactive art work from Turkey and a pioneer of the French feminist art movement of the 1970s.

Her work has been exhibited and celebrated worldwide by major institutions and biennali. ( Also in November '24 see :  https://www.ntmofa.gov.tw/en/News_Content.aspx?n=1618&s=226137 )  It gives a platform to marginalised communities such as immigrant workers, female labourers and former prisoners.

For a lifetime of original and groundbreaking art Nil Yalter has been awarded this year the Venice Biannale Golden Lion Lifetime Achievement Award.

Yalter's practice is research-based, involving both artistic and sociological research starting out with real testimonies in response pressing po­lit­i­cal and social issues - as well as cul­tu­r­al in­flu­ences - from Central Asia, the Mid­dle East, Turkey, and West­ern Eu­rope. 

The artist was transformed by the trial and execution of Turkish dissident Deniz Gezmiş in 1972, a brutal event that occurred against a backdrop of political turmoil in Turkey. Thereafter, Yalter has composed numerous projects using photographs, documents, video art and performances narrating the experiences, displacements and dynamics of oppression encountered by certain groups throughout their lives, criticising the continuous existence of systems that allow such inequity.  The subject of exile is a permanent feature of her work.

Headless Body/Belly Dance

1974 Photographs, ink on fabric  Edition 3/20