Christina Kennedy considers artist Fergus Feehily’s recent exhibition, ‘Fortune House’
I recently observed a large flock of migratory geese heading east. The flock was like a drawing in the sky; the birds’ spiralling trajectory continually altered as they repositioned themselves and, in doing so, resketched the outlines of the transparent shape they made together (now eel-like, now leviathan). What we notice at any given moment is the only time we will ever see things in that particular way.
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Christian Dupont uncovers Belfast artist Eva McKee’s vision for achieving aesthetic resonance through Celtic patterns and Art Nouveau styling
Isabella Evangelisti views the work of Sri Lankan artist Anushiya Sundaralingam and finds in it hope and courage
Born in Galway in 1955, now Dublin and Berlin based, Cecily Brennan has been exhibiting since the late 1970s and making art about pain for decades. Her exhibition, ‘Pressure’, at the Glucksman Gallery, pulls together several major works from the last twenty-five years, taking a laws-of-physics-style view of the theme: pain as a form of energy or force, and – in what feels like a neat nod to Newton’s third law of motion, pairing actions with equal and opposite reactions – pressure as a form of pain. It’s a theme rich in potential interpretations and one that has long been present in Brennan’s practice.
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