Monday, December 17, 2018

Sunday Times Art Panels - Winter 2018

The following panels appeared in a slightly edited form in the Sunday Times Culture magazine in November and December 2018.

Variations  - Colin Davidson

Colin Davidson, best known for his large painterly portraits, is an artist who is not afraid to explore new territory. His last exhibition featured a collection of expressive nudes and his current show represents another change in direction with flowers as his theme. But these are not still lifes as we know them. He has borrowed the structure of Elgar’s Enigma Variations to bring us 14 variations on a bouquet of flowers. Elgar’s theme was a melody on which he built a series of variations based on the personalities and foibles of people he knew (including himself and his wife). Davidson’s variations chart the changes time brings to these flowers over an 11-month period. There’s no enigma in these variations as we see the glorious colours fade and the blooms wither and die. It’s the floral equivalent of The Three Ages of Woman and Death by the 16th Century artist Hans Baldung. The dedicatees in Davidson’s titles are those of Elgar so you wonder if there’s a visual correspondence to the musical depiction. It’s hardly coincidence that in the painting For E.D.U. (which refers to Elgar himself) Davidson provides the lushest and most complete rendition of the bouquet.


Peripheries curated by John Daly of Hillsboro Fine Art is an exhibition of 14 paintings featuring three artists (all with connections to Dun Laoghaire): Paddy Graham, Eddie Kennedy and Sinéad Ní Mhaonaigh. The show is dominated numerically and in terms of scale by Paddy Graham’s large canvases. His works are more scenes of conflict than artful confections. Stark figures strike anguished poses against a distressed grey background. There are lines of text here and there that can assign cryptic context to an image (“Study after Caspar David Friedrich”) or provide an ironic counterpoint (“The lark in the morning” beside a tormented figure). Eddie Kennedy provides shelter and respite from Graham’s existential struggles with his calm and ethereal landscapes, inspired by his regular visits to the West of Ireland. Paintings such as the gorgeous Tondo are not realistic landscapes but rather represent the artist’s emotional response to it. Sinéad Ní Mhaonaigh’s Achar could, with its predominant grey and its figurative elements, almost be a benign Paddy Graham painting. However, her second work, Untitled, brings us into the world of pure abstraction where we must find our own way through the swirling chaos of colour

DLR Lexicon

Nick Miller – Rootless

Still lifes of flowers may seem a bland and decorative art cliché to some. In Nick Miller’s impressive new show they are transformed into tragic emblems of our impermanence. Painting flowers is a race against time - they begin to die as soon as they are plucked. Nick Miller began to explore and record this process in his “Vessels: Nature Morte” paintings in 2013. This followed a residency in a Sligo hospice - mortality was on his mind. Following the subsequent death of his  parents he has continued with this theme in “Rootless”, his first exhibition for the Oliver Sears Gallery. The flowers depicted are again on the turn, losing their bloom. The fairest things having their fleetest ends. These flowers have a strong, visceral presence and looking at the bowed heads in Fuschias you sense in them the transitory nature of life and of beauty. His theme is made explicit in Seaweed Ascophyllum which suggested to the artist his dying mother’s hair. Miller is an admirer of the great Jewish philosopher Martin Buber who encourages an open and receptive relationship to art rather than an objective and judgmental one. The elegiac beauty of these works will certainly reward the engaged viewer.

Pat Harris – The Weight of Light

Pat Harris has come home after a successful academic career in Belgium. Since returning he has developed an affinity with North Mayo where he now lives for much of the year. He has moved through the genres as a painter: from portraits, to nudes, to still lifes and now to landscape - taking inspiration from the rocks and stacks and the swirling mist around him. His evocative titles hail the rugged grandeur of Kilgalligan, Stonefield and Benwee. He also throws in an arcane art reference. The first painting you encounter is titled We Won’t Do it without the Rose – referring to a feted appearance by that great showman Jospeh Beuys at Documenta V in 1972. It’s a delicately-colored  and subtle painting of a single rose – a subject he revisits in several other paintings in the show. Most of the works are oil on linen and feature the muted colours and graceful plays of light that have been characteristic of Harris throughout his career – and are an implicit tribute to his old mentor Charlie Brady. However, two charcoal on paper works, Rock, Kilgalligan and Charraig Mhor, stand out for their dark presence and monumental implacability.

Eoin Mac Lochlainn - Deireadh Fómhair

You’re sure of a big surprise when you walk into the Olivier Cornet Gallery for Eoin Mac Lochlainn’s impressive new show. The gallery is transformed  into a virtual forest fashioned from long strips of subtly painted rice paper hanging from the ceiling. You are invited to walk through it on your way to viewing his watercolours on the surrounding walls. Mac Lochlainn has changed from oil to watercolours in recent years for environmental reasons and the evidence suggests he has mastered his new medium.The title of the show is the Irish term for October and Mac Lochlainn’s aim is both to celebrate the autumnal beauty of our trees – the glorious medley of red, russet, orange and yellow – and to sound a warning about the depredations of climate change. Ten of the twenty-four paintings in the show are titled Dóite, the Irish for burned. These have a topicality he could not have imagined when he painted them. While Mac Lochlainn’s ambitions go beyond the aesthetic the quality and quiet beauty of his paintings brings its own pleasure while reminding us of the significance of trees as givers of life on our increasingly poisoned planet..

Wednesday, November 28, 2018

London Weekend: Macbeth, Schiele, Klimt and Da Mario’s

Off to London last week for our bi-annual feed of Shakespeare with a bit of art thrown in. This time it was Macbeth at the Barbican – starring Christopher Eccleston and Niamh Cusack. It was a fresh and innovative production – but not too innovative. The witches were played by young girls in bright red dresses – the contrast between their doom-laden predictions and their youthful appearance added an extra layer of creepiness. The permanently on-stage porter acted as a kind of mute chorus – chalking up the deaths and casting a rueful eye on the machinations around him. Eccleston is more soldierly than cerebral as Macbeth and that fits well generally but slightly undermines the great final speech where the tortured soul tips into nihilism. I wasn’t convinced at all by Niamh Cusack as Lady Macbeth. She lacked the passion and visceral feel that you’d want from the character. She just seemed too actorly and RADAish for my liking. The running down digital clock centre stage was presumably a nod towards “the last syllable of recorded time” and signified time running out for Macbeth. The rest of the cast were fine and professional and we noted again that the casting rules governing racial quotas were strictly observed by the RSC. I’m not convinced that 12th century Scotland was so heterogeneous. Another minor irritation is the mixing of 20th century clothes with 12th century weapons. I don’t mind experimentation but would like a production occasionally to adhere to period dress. It’s been a long time since I saw one such from the RSC.

I do love Egon Schiele so the Schiele Klimt Drawings show at the Royal Academy was a must. However, like any major show in London it’s a pain in the arse trying to deal with the crowds. The only way to get a bit of peace to enjoy the work is to book the very first slot – or maybe the very last. We went early on Sunday but struggled to enjoy the work for the crowds. Also, there is a slight frisson of unease about looking closely at some of Schiele’s more explicit and erotic works while an elderly matron breathes down your neck. Or the feeling of being a bit creepy if you linger too long when there’s a younger woman nearby. We finely tuned aesthete’s should be above such considerations of course. I loved especially Klimt’s Lady with Cape and Hat and Schiele’s drawings of his mother Marie and his wife Edith.

But God London is a hard city. Getting around is a nightmare. The Tube is dirty, overcrowded and frequently requires serious route marches to change lines. Taxis are overpriced and the traffic is permanently grid-locked. Uber works well but its prices fluctuate wildly. Having breakfast one morning I checked a route and the fare was £9 – five minutes later it quoted me £18 as demand apparently rose. Of course my cause was not helped in the transport area by arriving over the Black Friday weekend.

Relief from the struggles with traffic and culture was provided by a visit to Da Mario’s in Endell Street (Covent Garden) where we enjoyed a splendid Italian meal in the buzzy family-run restaurant: Ravioli Cinghiale preceded by lobster bisque. Nice.

Wednesday, November 14, 2018

The 137th Royal Ulster Academy Annual Exhibition

Detail from Post-Brexit by Rose McKelvey

An edited version of this review appeared in the Sunday Times Culture magazine on 11 November 2018

The 137th Royal Ulster Academy’s Annual Exhibition opened in Belfast last week at what is becoming its de facto home in the Ulster Museum. The ambitious plans announced in 2014 by then RUA president Colin Davidson to develop a new home and exhibition space at the listed Riddell’s Warehouse do not seem to have made much progress. However, “they are still ongoing” according to the new president of the RUA Betty Brown. “The building has been acquired by Hearth Historical Building Trust with a view to restoration and the RUA would aim to become the anchor tenant once restoration has been achieved.” Funding is an issue. The RUA could do with an enlightened entrepreneur or a champion on the Northern Executive – if there was a Northern Executive. In the current climate with no government in place and the Brexit debacle looming, it’s hard to see much movement towards achieving a permanent home in the foreseeable future.

Whatever about its temporary nature the 5th floor of the  Ulster Museum makes a fine setting for the annual show generously sponsored once again by KPMG. This year’s show seems livelier and more varied than usual – the RUA’s policy of allowing only two paintings per academician (compared to six at the RHA Annual Show) helps promote greater diversity. It’s also very noticeable how accessible the prices are - this seems confirmed by the healthy rash of red dots just a week after its opening.

Norman Rockwell famously said that  “If a picture wasn’t going very well I’d put a puppy dog in it.” Those susceptible to canine charm will be much taken by Heidi Wickham’s Tina – a portrait of an attractively winsome dog. However, art lovers too will appreciate this well-executed piece in charcoal, pastel and gesso. The work was so admired that it won two of the prizes on offer at the show. Wickham had another soulful dog on view confusingly called Black Bear. It was also an attractive work but it suffered a little from being lit in a way that bounced light back off its high gloss finish. Following on a trend from last year there was an abundance of portraits. RUA regular Michael Connolly continues with his quirky subjects - Sparrow and Meet and Greet featured some pastel people from his own personal Twilight Zone. Daniel Nelis’s Silver Medal Prize winning Untitled (November) is an elegant work that nods in the direction of Modigliani. Other portraits that snagged the attention were Nina, a beautifully alive and warm study by Susan Dubsky and John Cooney’s two characterful watercolours Sligo Farmer and John Cunningham, Ardara.

Brexit hasn’t gone unobserved according to a few of the  titles. Dermot Seymour’s attachment to bovine subject matter continues with his large painting of a cow being harassed by a goose. It’s a bit of a metaphorical leap to the accompanying title: Border Vicissitudes of Brexitaria. However, Ross McKelvy’s scores a more direct hit with Post-Brexit – one of the most dramatic and memorable images in the show. In this photographic study the prognosis goes beyond border bother to a distinctly Mad Max future as a bizarre, gas-masked figure tends a dying landscape while black birds wheel ominously overhead. Another land of lost content is portrayed in Cara Gordon’s They Used to Dance Here, a dark and atmospheric acrylic painting of an old Belfast dance hall.

Colin Davidson is back after a hiatus of a couple of years. He’s given himself a break from portrait painting by omitting the head from his large and impressive, Stride, which captures the nude figure in motion. Judith Logan’s The Kite Flyers offers us a flavour of that great Northern maverick John Luke - although she achieves her effect with coloured pencils rather than egg tempera. John Roch Simon’s mission in life is to make old masters more amenable to a modern sensibility. To this end he takes appalling liberties by inserting modern subjects into classic paintings and photographing them. The resulting images, The Two Johns - after Caravaggio and Cottage Girl 2017 – A Portrait after Gainsborough, have a quirky discordance that arrests the attention. Elizabeth O’Kane’s meticulous watercolour Duomo from Apartment Window, Florence also caught the eye.

The independent adjudicator for this year’s show was the estimable James Hanley, Keeper of the RHA. He selected the recipients of the RUA’s gold, silver and bronze medal prizes. The gold medal went to Jeffrey Morgan’s Last of Blackheath (7) curiously dedicated to the Scottish artist Mark Boyle who died in 2005. Boyle’s original claim to fame was the light shows he did for The Soft Machine at their UFO concerts back in the Sixties. Morgan’s work is a gloriously enigmatic painting of the rear view off a red-haired woman in a 50s style blue-polka-dot dress. It’s a symphony of colour illustrating a banal urban setting.

Works from the South are not as plentiful as in recent years however the print area was particularly  well served by Southern artists including three long-standing members of the Graphic Studio Dublin: Jean Bardon, Stephen Lawlor and James McCreary . Their four works (two by Lawlor) are impeccably-crafted examples of master printers at work. But each artist brings a very different individual tone: one elegant, one mysterious, and one surreal. A more recent Graphic Studio member Susan Early also contributes two fine etchings of Irish light houses. Other impressive works in the print mode included: Elizabeth Magill’s playful Skirt Tails which could be a Victorian skating party, David McGinn’s noiresque etchings, Anne Corry’s enigmatic Hidden Life, and Margaret Arthur’s beautifully layered Sunlight on a Distant Shore.

There was plenty of real quality amongst the photography. Michael Collins’ Dead Calm had a gorgeous painterly quality while Sharon Belton’s At Swim went for a more playful surreal mood. Sharon Murphy’s Aoife/Cordelia; Bruce Marshal’s Wicklow, 1980 which made much of milk bottles ; Tommie Lehane’s bleak Ice Skating Arena, and Barbara Freeman’s portentous Valley of the Gods also stood out. Gordon Ashbridge’s Balls combined a desolate image with space for metaphorical speculation.

There was some virtuoso performances in ceramics none more so than Stephanie Tanney’s Disconnection which created a mysterious piece whose simulated drapes would serve well in a Halloween tableaux.

Amongst the sculpture, Helen Merrigan Colfer’s See Nothing, Hear Nothing, Tell No One contains disturbing intimations of child abuse. Carolyn Mullholland’s minimalist Full Stop, and Jason Ellis’s carry no message beyond the clean beauty of their forms. Anthony Scott does what he does best with his glowering Warrior. Zoe Murdoch’s mixed media Angelus Vitus achieved a solid, stylish malevolence. I also liked Claire Mooney’s Shadows of the Past, a delicately wrought copper construct.

Talking of the past, the show also contained a tribute to Gladys Maccabe (an Honorary member of the RUA) in the form of a catalogue essay and an excellent example of her work. She died earlier in the year a few months short of her 100th birthday. In addition to her qualities as a painter, Maccabe was a hugely positive influence on the Northern Irish art scene for very many years. She recognized no barriers of religion or gender and was a zealous promoter of female artists in the North. She also distinguished herself by not shying away from the Northern troubles in works such as Barricades and Funeral of a Victim. She’s a real loss to Irish art.

John P. O’Sullivan
November 2018

Sunday, November 11, 2018

Towser Gosden, Damredub, Royal Line, and the November Handicap

I’ve long had an affection for the last big flat handicap of the year - the November Handicap. It used to be called the Manchester November Handicap until they closed Manchester racecourse in 1963. It now takes place in Doncaster. I got to love it through a great old handicapper called Damredub. He won it in 1962 at 20-1 and was second at big prices in 1961 and 1963. I followed horses rather than studied form in those days and backed the gelding whenever he ran - invariably making money from him. He was a brave and reliable horse. His trainer was Towser Gosden, John Gosden’s father. His horses usually operated in more modest company than his illustrious son’s do but he did win the King George VI and Queen Elizabeth Stakes with Agressor amidst a modest enough career focused on handicaps.The son usually has a runner in the November Handicap - perhaps for sentimental reasons as Towser used to love the race. So I always have a good look at his horses - he has won it six times in the past, more than any other trainer. Yesterday he ran Royal Line who had been down the field last year despite starting favourite. However, he was a not fully-furnished three year old then and a couple of bits of subsequent form suggested he was a potential group horse running in a handicap. Crucially, also, he had won on heavy in the past. I put a decent bet on him and watched smugly as he won snugly - going clear two furlongs out and staying on strongly on the soft ground. His starting price  was a surprisingly generous 9-1. So 56 years after my old friend Damredub won I am obliged again to the Gosden family. Last night I celebrated with a good bottle of Sancerre. Back in 1962 I suspect it was a Toblerone and a Club Orange.