Tom Climent’s recent paintings appear to edge more and more away from pure abstraction, writes Mark Ewart
Tom Climent’s recent paintings appear to edge more and more away from pure abstraction, writes Mark Ewart
Tom Climent’s studio is situated in the heart of Cork city, amidst an enclave of old churches and sites of cultural and historical importance. The nearby Elizabeth Fort, a 17th-century star-shaped structure, feels like it could be a three-dimensional embodiment of his geometric paintings. His rich palette of sumptuous colour sings with luminosity and wonder, ethereal cathedrals of kaleidoscopic light that soar ever upwards.
Tom Climent, Solomon Fine Art, 2 – 25 July
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Tom Climent’s studio is situated in the heart of Cork city, amidst an enclave of old churches and sites of cultural and historical importance. The nearby Elizabeth Fort, a 17th-century star-shaped structure, feels like it could be a three-dimensional embodiment of his geometric paintings. His rich palette of sumptuous colour sings with luminosity and wonder, ethereal cathedrals of kaleidoscopic light that soar ever upwards.
The legacy of stained-glass artist Helen Moloney is in the vibrancy of her colours and her use of coloured glass and lead lines in an abstract manner, writes Bart Felle
Margo Banks is so instinctively attuned to her subject that her energetic approach and her subject matter are inseparable, writes Isabella Evangelisti
