St Mary’s Cathedral in Tuam, Co Galway is a veritable shrine of Romanesque art, writes Roger Stalley
Paula Murphy celebrates the work of one of Ireland’s most esteemed sculptors, John Henry Foley
Peter Murray journeys to sculptor Michael Quane’s studio in Cork, which provides an insight into his inspirations and method of working
Vivienne Roche’s approach is formally beautiful and seemingly straightforward in its address, but opens onto profound and unsettling ideas about time, loss and persistence, writes Sarah Kelleher
Aidan Dunne discovers how artist Ursula Burke uses the Classical tradition to reveal problematic and troubled realities
Lynsay-Erin Mercer’s careful and meticulous process mirrors the consideration and depth of her conceptualisation, writes Isabella Evangelisti
Gabriel Hayes was invariably identified in the press as a woman, wife, mother and grandmother before being acknowledged as an artist, which distracted from serious critical reception of her work, writes Paula Murphy
Paula Murphy celebrates the work of Imogen Stuart over the course of her six-decade career
Laurence Campbell was an enigmatic figure, markedl y different from his peers, writes Paula Murphy
‘I just can’t cut myself off from the real world, what’s happening around me – there is that underlying anxiety,’ sculptor Tom Fitzgerald tells Mike Fitzpatrick
Joe Butler’s career shows a total dedication to his pursuit of open, direct metal sculpture, writes John Behan
Olivia Musgrave’s interest in the Classics greatly informs her sculptures, writes Peter Murray
The map patterns in her work, although abstract in appearance, are accurate and can still be read, Michelle Byrne tells Carissa Farrell
Anna Campbell has maintained a remarkable consistency in terms of both technical skill and artistic vision, writes Riann Coulter
John Rainey tells Michael Waldron that he designs environments for his work to exist in, thereby reversing the dynamic so that we exist within their world for a period of time
Marcel Vidal finds that a thread of instability runs through Freida Breen’s sculptural practice
The sea’s characteristics, particularly its unpredictability and perpetual rhythm, continuously inspire, Alva Gallagher tells Carissa Farrell
‘I knew from the age of three what I wanted to do,‚’ sculptor Carolyn Mulholland tells Brian McAvera
Sculptor Eilis O’Connell uses digital technology to show her work in an experimental and groundbreaking way, writes Jennifer Gof
Rachel Thomas interviews Richard Malone, an artist who works across the media of sculpture, fashion and performance, pushing the boundaries of traditional sculpture.
Paula Murphy celebrates the work of Imogen Stuart over the course of her six-decade career
Julian Campbell finds that sculptor Peter McTigue’s traditional methods belie a resolutely Modernist vision.
Paula Murphy considers the work of Irish American Edmond T Quinn, one of the leading sculptors of his generation
Maud Cotter’s sculptures loom large without being monumental, writes Sarah Kelleher ahead of the artist’s exhibition at Limerick City Gallery of Art this autumn
Carissa Farrell discovers an inexhaustible fascination at the heart of Remco de Fouw’s practice with gravity, physics and the cosmos
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
Research into theoretical principles across the fields of art, science and aesthetics imbue Nuala O’Donovan’s work, writes Mark Ewart
