Like an orchestral conductor, the artist Genieve Figgis encourages and cajoles the passages of paint in her work, writes Cian McLoughlin
If you lay a canvas flat on the ground and pour out two pools of diluted paint side by side with edges touching, there is only so much you can predict will happen as the two colours collide and bleed one into the other. You can try to manipulate this chaotic process – tilting, mopping, brushing, adding, subtracting – but you’ll never be in full control of the delicious, flowing turmoil of wet paint applied in high volumes.
Research into theoretical principles across the fields of art, science and aesthetics imbue Nuala O’Donovan’s work, writes Mark Ewart
Eamonn Doyle’s portraits of Dubliners are unposed, untroubled by vanity and full of momentum, writes Stephanie McBride
