by Rosie O’Gorman
October 18 – November 28, 2019
Closing Event: Tuesday November 19, 2019, 6-8pm
Rosie O’Gorman lives and works in her native county Wexford, Ireland. In 2000 Rosie graduated with a BA in Art and Design Education from the National College of Art and Design, Dublin. In the same year she received two national awards; the Larkin Memorial Award for teaching, and the Taylor Award for painting. With the support of a Fulbright Scholarship, Rosie attended the San Francisco Art Institute, California, receiving her MFA in 2004. On returning to Ireland, she established Cow House Studios with her husband Frank Abruzzese at her ancestral home in rural Wexford. Rosie’s work includes drawing, painting, sculpture and installation, and is driven by the allusive nature of her materials. Her work speaks of things that are simultaneously meaningful and meaningless, and is in a way an attempt to reconcile with the passing of time.
This exhibition includes photographs, paintings and two handmade books. This work is a reflection on the precarity of memory, the vulnerability of motherhood, and the importance of making as a means to fulfilment. This work began in 2012 shortly after Rosie’s first son, Michael was born. She has been incubating these ideas; time passed has allowed her to reflect on its value and purpose in elevating the virtue of poignant moments.
dangle, align, topple reflects two years beginning when Michael was about 6 months old. Rosie started photographing the arrangements he created. Initially, some were accidental, but quickly they became more purposeful. She never intervened, but observed or simply came across his play. Over time, Michael became aware of his mother taking photos and he began to use the term “sculpture”. Rosie was drawn to his pleasure in learning how things rise and fall, how to risk and fail, of not knowing the prescribed order of things, and sees this collection of photographs all at once a mind map, a world map, a house map, a storyboard, a record, a crossword, a puzzle, and ultimately as Alain de Botton writes these images grapple to “accomplish a task that is of central importance in our lives: to hold onto things we love when they are gone.”
Michael’s experiments filtered into the arrangements in Rosie’s paintings. Huddle shows a mother and baby panda (curiously made of rabbit hair) staring at colourful but perhaps meaningless plastic straws. The second painting, Not together attempts to anthropomorphise warmly coloured domestic objects.
Two handmade books document the early months of her two sons; Michael, now seven and Emmet three. The first book contains drawings and written notes made during Michael’s first year. A few days after Michael was born Rosie decided to make a drawing of him once a week. Notes written on the back of the drawings reflect on practicalities, observations and vulnerabilities as a new mother. Over time these drawings allowed for intimate connections with fleeting moments. The second book contains drawings of Emmet. This book is shorter; revealing the challenges with managing a growing family, and the different personality of a second baby. Michael’s drawings are included as he also becomes an author of the experience we both share.
“Your labour which gives form to desire, takes from desire its form.” – Italio Calvino
Opening by Patricia Mckenna Tuesday March 26th 2019 6 – 8 pm.
1 JudyCarrollDeeley_Paraphernalia 1_aa_Oil on canvas_70 x 50 cm_2018
Judy Carroll Deeley’s paintings are concerned with illuminating the strange or mysterious qualities that haunt everyday objects. In Paraphernalia 1 the source of her work is a number of gifts of kitchen implements she received for her wedding but never used. Now largely rusting or otherwise discoloured or dilapidated, the act and fact of painting these objects is her way of ‘reclaiming’ them and acknowledging the temperament she feels pertains to them on taking a fresh, long-delayed look.
Judy Carroll Deeley is a professional artist and has a BA Hons. Fine Art (Painting) from NCAD, 2008, and an MA Hons. Visual Art Practices from IADT, 2011. Her fourth solo exhibition, Paraphernalia 1, opens in deAppendix, 30 Ardagh Grove, Blackrock, Co. Dublin on Tuesday 26st March 2019. She has participated in many group shows including ‘Arrival’ in the dlrLexicon Gallery 2017/18 curated by Gemma Tipton, and the Dunamaise Open 2017/18 curated by Patricia McKenna and Claire Behan. Earlier group shows include the Rua Red Winter Open 2014/15 where she won The People’s Choice Award, and The Claremorris Open 2009. She was awarded a Belmont Mill Residency in 2012 and a Ballinglen Arts Foundation Fellowship in 2015. A fifth solo show takes in 2020 in South Tipperary Arts Centre to be curated by Carissa Farrell and a sixth in the Custom House Quay Studios in February/March 2020. See Essay on Paraphernalia 1 by Dr Maebh O’Regan for the essay by Maebh O’Regan on Judy’s work.
Contact : Instagram: @judy.carroll.deeley / www.judycarrolldeeley.com
Olwyn Colgan at deAppendix, 30 Ardagh Grove
21st January until 17th March 2019.
Olwyn’s art has evolved into a combination of collage, (using found and self-created imagery), combined with paint, inks and pastels. Her practice embodies the belief that art making can enrich life by providing a means of engaging, reflection on, expressing, and developing life stories.
Her subject matter is drawn from day-to-day life including figures within landscapes and interiors, generating visual images telling stories with the intent to engage the viewer’s imagination and emotions.
Olwyn’s paintings aim to strike a balance between Realism, Surrealism. Her enigmatic and intense art wishes to “make you think, confuse you, make you feel like you are in a dream”.
Olwyn Colgan was born in Co. Tyrone, and is now living in Dublin.
She graduated with a degree in Fashion and Design at the University of Ulster Belfast in 1995. She then pursued a career in London, designing for fashion companies Cyberdog and Sue Rowe.
In 2000 she moved back to Ireland and began to move into a fine art tradition studying Painting and Drawing, bringing into her work illustration skills but also powerful dynamics from her fashion background and culture.
Olwyn has had previous solo shows in Strule Art Centre, Omagh, Co. Tyrone in 2017 and Inspire Gallery Dublin in 2016 and an up and coming solo show in The Icon Factory Dublin. She has participated in numerous group shows most recent being The Engine Room Gallery Belfast and, Dunamaise Arts Centre, Co. Laois. She is currently undertaking a Diploma in Art and Design in NCAD and is employed in Arts Education.
Memento Aldi, new body of work by Danny Kelly. Show runs until 7th Dec 2018.
Memento Aldi is an installation of Danny Kelly’s recent painting at DeAppendix. Kelly’s work elaborates a subjective sphere of heterogeneous features comprising tropes of painting culture and items of biographical significance. A protean topography traverses the work’s pictorial content, objective environmental and material properties, and interpreted public and personal cultures – intimations of chart music and domestic miscellanea. Dynamics of disintegration and consolidation alternate, suggesting an accidental crucible breeding ephemeral hybrids. A visceral, crudely drawn practice emerges – playing with cohesiveness, personal identity and public visuality – and is embraced as a pidgin chart music.
“This exhibition is dedicated to the memory of the artist John Freeney, who lived on Merville Road. His talent and generosity made it possible for me to want to be an artist” Kelly, 2018
Community of biro (2018), oil and mixed media on canvas
Carol O’Connor at deAppendix 4th April until May 26th
Inventing Solutions, Carol O’Connor’s current body of work reference nature, built environments and travel. Her process of layering paint and scraping away will often inform the narrative of the painting as she leans towards complete abstraction. Destroying the initial image and then returning some feature of it in an over and back, push and pull process adds physicality to the practice of painting. The idea of representation or abstraction is not the end goal but the process itself.
Carol O’ Connor graduated from NCAD in 2009 with a BA Honours degree in Fine Art, specialising in painting.Carol has shown work in the RHA Annual exhibition and has had a number of Solo exhibitions. She has work in the Imago Mundi Benneton collection, OPW Collection, Contemporary Irish Arts Society, Beaulieu House Co. Louth, Meath Co. Council and Axa Insurance. She is represented by Chimera Gallery in Mullingar. She is also a member of The’ Flotsam’ Art Collective with Thomas Brezing, David Newton, Brian Hegarty and Gary Robinson.
Austin Hearne at deAppendix
28th February until 31st March 2017.
Sexy, beautiful, ugly, dead, dying, everywhere. Flowers: symbols of life, love and death, memorials to those past and passing. We are all flowers, battling time, only we have infinitely more than our showy friends. They remind us of our vibrancy, our individuality, our autonomy and cruelly our end.
The flowers in Austin Hearne’s photographs come from religious sites, photographed on his many research trips around Ireland. A mixture of fake and real, arranged in various vessels and placed in differing settings. In contrast to these documentary photos, Hearne presents a suite of staged still lifes, assembled from the rose gardens and land around the now defunct St Clare’s convent in Harold’s Cross where the artist has his studio. In these photographs he constructs every element within the photographic frame, from the painted vessels, collaged backgrounds and the arrangements of the flowers themselves. Through a range of photographic and print manipulation Hearne presents these photos as allegories or symbols posing questions on the Catholic Church’s influence on the many aspects of our lives, loves and bodies.
Austin Hearne completed his MFA at NCAD in 2016 and has exhibited in The Talbot Gallery Dublin, The Complex Dublin, Kilkenny Arts Festival, Royal Ulster Academy, Belfast and internationally in New York, Munich, Glasgow and London.