‘The world changed for me’. Hilary Pyle remembers Melanie le Brocquy’s realisation that sculpture was to be her métier when she discovered the sculpture studio at art school
Melanie le Brocquy led a double life, as artist, and wife and mother. Uniting what appeared to be quite distinct personalities was her love of people, and it’s very evident in her work. Light seemed to shine out of her when she spoke about a piece in the making, mainly human figures. As Jack Yeats claimed, love is the essential for the greatest art; and le Brocquy’s work carried a warm understanding of ordinary human moods and bodily expressions, however insignificant – movements, tensions, temporary tokens of living individuals.
Brian McAvera wonders whether soulless consumerism is the message in Ian Cumberland’s dramatically installed artworks recently shown at Golden Thread Gallery in Belfast
Anita Groener’s strength lies in a total focus on her theme and her art, an art that draws in and challenges the viewer, writes Judith Hill
‘I’m trying to make the invisible visible’ Pat Harris tells Brian McAvera on the eve of his exhibition at the Taylor Galleries, Dublin