Harriet Pozanasky’s multi-disciplinary exhibition Pin Up explores themes of female subjectivity, desire and autonomy through painting, drawing and sound.
Ulrike Müller’s Beside Myself explores her fascination with the production and manufacturing of things through tales, images, patterns and materials produced in good quality by small 20th Century facilities.
‘Crackers for Lorelei’ presents a series of colourful oil paintings. The exhibition is supported with a grant from Culture Ireland.
Alia Ahmad’s vibrant, expressionistic paintings draw inspiration from memories and observations of her native Riyadh; informed by local textiles, poetry, calligraphy, digital graphics and the rich diversity of the surrounding industrialised desert landscape and plant life.
Sue and Terry Atkinson's exhibition combines drawings and paintings with a prescient relationship to current geopolitical events. The work of both artists have focussed on overtly radical subject matter since the 1960s, with the potency of their work becoming stronger over time.
Daria Blum works across video, music, text, photography, installation and performance. This show is based on her reflections on the role of the live performer, and her own attempts at deflecting and withdrawing from the audience’s gaze and attention.
Debjani Banerjee’s exhibition, Jalsaghar, is an intricate exploration of identity, culture, and heritage. The exhibition navigates themes of cultural migration and the evolving nature of identity.
In her exhibition, The Book of Flowers, Agnieszka Polska uses cinematic storytelling and affective technologies, to address the perpetually negotiated relationship between human and technology. She examines the processes that mutually influence and legitimate this relationship in language, history and consciousness.
In Navigator, Divine Southgate-Smith magnifies archival photographs to the point of dissolution. It is an exhibition about movement – the movement of history, memory, and ideas across time.
The Opening of a Crisp Packet is a show about storytelling and an installation of new ceramic works by Alma Berrow.
Birch’s paintings examine the unseen forces that shape aural and tactile perception. Youn’s kinetic sculptures confront the tension between pleasure and discomfort, using devices like massagers to examine the relation of function and desire.
The Silent Game, is an exhibition by Elena Gaul, which takes inspiration from a chessboard, with paintings setting the rhythm of the game. Balancing between structure and expression, Gaul’s work invites viewers to pause, observe, and perhaps discover their own move in the game of shapes and colours.
Kristina Chan's work oscillates between photography and printmaking and the science – and artistry – behind mark-making. Fascinated by the relationship between these two processes, Chan explores their ties to site-specificity and truth, to memory, time and space in Habitable Climes.
What the Water Gave Them showcases new paintings and animations by Cecilia Reeve that delve into themes of submersion, ritual, and renewal.
Soft crossing, Magdalena Skupinska’s exhibition, takes shape through the slow and meditative work of gathering, grinding, and layering – altered by time, steeped in the rhythms of growth and decay. Her works do not settle into stillness, but emerge from the earth, formed by the elements, taking pigment and texture from nature’s own store.
Anne Rothenstein’s exhibition of new paintings comprises portraits, landscapes and interiors. Often working on panel, she layers thin washes of oil to suggest ripples, cloud and wave patterns which lend a sparse, elemental composition rhythm and depth.
In Lorena Lohr’s exhibition Motel Nudes a predominant message emerges of the potential of taking a moment alone as a woman.
Four Tapestries, is an exhibition by Susan Morris. The show includes three new works from the Binary Tapestry: Sunshine series, each of which records the amount of light exposure the artist experiences over years (2010, 2011 and 2012). The fourth work records her sleep/wake patterns, alongside concurrent light exposure, over a period of the same […]
Malware presents new tapestries, tuftings, and videos by Qualeasha Wood. This body of work examines overconsumption and consumerism, considering how identity can persist and transform in the face of systemic failure.
This exhibition's title Terra Firma, denotes substance: dry land, solid ground. In these uncertain times, the works of Isabella Dyson, and her father Chris Dyson, convey stability in landscapes and still life paintings, and in buildings that endure.