Susan Connolly’s work can be classified within the broad category of ‘expanded painting’, which rejects the traditional painting format of the easel and frame, writes Riann Coulter
Susan Connolly’s site-specific installation, over&over&over, created to occupy the central space at the FE McWilliam Gallery this year, hovers on the cusp between painting and sculpture (Fig 1). One element of the exhibition ‘Penumbra’ (which presented the work of eight Irish, female painters), the installation included three versions of the same painting on different scales, each displayed at a remove from the wall and supported by sculptural elements. The paintings are created by following a restricted recipe of three colours – cyan, yellow and magenta – and three shapes – square, circle and triangle.
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Rose Jane Leigh’s importance as an early pioneering Wexford landscape painter and her choice of studying in Antwerp placed her at the centre of the major art movements of the 19th and early 20th century, writes Mary Stratton Ryan
