It’s an honour to be awarded the Curator’s Choice for July 2024 at the esteemed Hunt Museum of Limerick. The above painting is on view for the month of July in the museum, and it’s a nice opportunity to showcase the best of local artists to the Limerick public, and indeed the many visitors from near and far.
As part of this program I will have an informal open presentation of some works from my ‘About the Studio’ ongoing series, a few small paintings and recent drawings completed in the last year or so. There’ll be time for coffee and hopefully some nice discussion about art, my own and others.
Carl’s Studio, pen on painted paper
Tá fáilte romhat chun gach duine! All are welcome and sincere thanks to all at The Hunt Museum for inviting me to exhibit, and assistance throughout!
Opening night in The Coach House by Pat Normoyle, December 2023
2023’s end came as somewhat of a relief for me, a year that didn’t start great and continued on in that vein. That is just life really, and aside from those matters, it did constitute a strong creative year in terms of my practice.
Not least among this was the launch and hosting of my solo exhibition in The Coach House/People’s Museum of Limerick in December last. The esteemed Pat Normoyle – of NormoyleFrawley Framing/Artmad delivered a lovely, funny and touching (short) speech, and delivered kind and inspiring words – sincere thanks Pat!
Pat cranking myself and the crowd up!
There was a great turnout for which I was most grateful, for the opening and the week that followed, and a few stocking fillers were had. I was delighted to see friends and colleagues form Contact Studios and Wickham St. Studios alike, along with new audience members. I am most fortunate to have the support of many friends in this and other endeavours over the years, and my good friend Seán Healy was most helpful throughout, in logistics and practical assistance – including manning the Mulled wine bar for the night – thanks Seán!
Seán Healy tending bar, with Wickham St. Studios’ Paul Rhattigan.
Go raibh míle míle mhaith go dtí gach duine!!!
Carl’s studio – back door view, pen on painted paper
I continue to explore Wickham St. Studios though drawings and painting since the show, experimenting with coloured paper (see above), a light green/grey type shade among other things. It gives just a bit more complexity to the end drawings, a bit more depth I feel. The composition of the above drawing also led me to make my first painting of 2024, which I’m pretty pleased with (below).
Carl’s Studio – back door, oil on board, 2024
I’ve also been exploring the first floor of Wickham St. Studios artist spaces, hallways and rooms for the last few months. They are quite complex and challenging with so many elements to convey, but most rewarding.
Wickham St. Studios, 1st floorEsther’s desk.
Next up, some news on exhibiting with The Hunt Museum,
After 3 years of work sketching, drawing and observation, we are finally at the point of bringing my new body of work to the public. The venue is The Coach House, part of The People’s Museum of Limerick, in Pery Square, and is a very fine, venerable building with a lot of history.
I’ll present 11 paintings, oil on boards and canvasses, and 23 black and white pen drawings, all completed in situ in Wickham St. Studios, my artistic home in Limerick for the last 5 years or so. The works are a visual journey through the studios themselves, mostly focusing on my own space, while also profiling my fellow members’ working conditions, featuring Paul Rhatigan, Isabella Walsh, Declan Greene, and Tom Prendergast.
Paul’s Paintings and Filing Cabinets,Oil on canvas
For the last 3 years I have really been trying to play around with different approaches and techniques in painting, emphasising directness and playfulness. Some works have taken on or near a year, while some have been completed in less than 2 weeks, but I very much like to maintain the sense of enjoyment of the medium at all times.
Last March, myself and Isabella Walsh facilitated Isabelle Ryan’s first solo show in the same venue, as part of Connect 5, and the venue is just great! Lovely and atmospheric House, garden and the old Coach House make it possibly the most beautiful venue in Limerick City, old and new combined.
Declan’s Studio, black and white pen on grey paper.
I am particularly delighted that Pat Normoyle, of Limerick Senior College, NF Gallery, Art Mad/Normoyle Frawley Art will say a few brief words on the night. I had my second solo show in the Treaty City in Pat and Kate’s NFGallery many years ago, and as Gallery Interlude fans might know, the lads were among the sponsors for our shows. It’s been a real privilege over the years dealing and chatting with Pat, and as with Gallery Interlude, Normoyle Frawley Art will give a 15% discount on any framing of works bought in the show – go raibh míle míle maith!
I’m very much excited to present these works, and hopefully we’ll get a good crowd for the opening, and visitors during the show. My sincere thanks to my family, friends and colleagues for getting me this far, and many thanks to all at The People’s Museum.
Especial thanks to fellow Wickhamer Declan Greene for his great work on the poster, and photography – brilliant as always, and to my Contact Studio’s friend and artist Sean Healy for his input and help throughout.
Painting in Declan’s studio, photo by Declan Greene.
After a relatively quiet period for creating work over the last few years, it feels great to be free again – to travel, to paint, to mingle and organise. I’m very grateful to have a place – in Wickham St. Studios – to come in and make work and plans, to mingle and learn from others. I feel 2023 is like a restart, a new chance to try new things, and retry and invent old practices.
Declan’s trolley, pen on paper
I’m delighted to say I will have a solo show of works in the Coach House, part of the beautiful Georgian era Peoples’ Museum of Limerick, in October this year. We say deadlines were invented for artists in this business, and it is true that having a target to make and present a body of work is a great stimulant. It’ll be called ‘About the Studio’, and will feature drawings and paintings depicting my own and other spaces in Wickham St.
Terrible photo of Dusk Studio, oil on board
It has been a most satisfying and exciting journey so far, and as I haven’t been full time making artworks through paint, it has led to new approaches and revelations. I will of course update on the progress.
A view through to Paul’s studio, pen and white paint brush.
After quite a long time I feel comfortable back in the studio, the daily routine once again normalised. It’s been a pretty productive period over the last few months, kick started in part by undertaking a drawing everyday for a few weeks (sort of).
Start with what’s around you, and as I am next door – so to speak – to artist Paul Rhatigan, I portrayed the view from my side. I’m using the pen and white paint (pen) brush technique, similar to my residency in Limerick City Gallery last year. I’m pretty happy with the results.
The small stool reminds me of War of the Worlds!
I like the challenge of trying to capture chaotic scenes, with several competing hard and soft lines and textures having to be portrayed, and it’s a great discipline.
I have completed the painting of the pink vase I had been working on, the ‘solid’ painting that is. In a month or so I will glaze and sign it. The glaze will most likely be two oil washes of light pink, and pretty electric cerulean blue hue. Hopefully that will bring it together nicely.
I’ve also been working on a couple of other paintings, but for now, I’ll post up the drawing one of them is based on.
I wish a happy and peaceful 2022 to all. The last two years have played out in a bit of a haze (lockdown began March 15 2020), but with getting back regularly to the studio, and latterly the Test Space Residency in LCGA, creatively things are moving.
I am concentrating on painting again, particularly on canvas, and the above image is the first layer of one (of two). The works depict a couple of views from a seated position in my studio, and have been occupying me for the last 10 weeks or so. I always draw with the brush(es) when painting. It is another way to relax the outcome and the wrist. Using a pencil or other media to begin a work tends to tighten and restrict I feel.
Stage 2.
This particular piece is a vase of some sort above the back door lintel. The colour is quite exceptional -an electric pink – very much what we would call ‘plastic’. It’s quite an unusual composition, but I’m (quietly) confident it will work out. Working with canvas so much again brings back the old techniques and solutions, while at the same time the lack of practice can bring new approaches.
As can be seen above, the painting is built from the background up. The second image is after about four layers – dry paint (no medium like turps/oil added) is built up gradually, worked into the fabric, the darker and underlying colours (in my eyes!) being the base. These patchy bits, disguised more and more with each layer, go on to have a significant, but very subtle effect on the eye, particularly after the last stage of glazing.
Stage 3
This is where I am now with it (ignoring the brutal quality of the photos of course). The more solid and defined image is emerging. When we get to a point where it feels ‘real’, I will add a few layers of glazing -the oil painting equivalent of a water-colour wash – the image will rescind or diminish, leaving us with a more cohesive, moody work.
A question I, and many others have when beginning to pursue painting/visual art had, was what purpose does colour have? It may seem a simple question. Yes if we want to be faithful to a scene, and want to recreate it then we use similar colours. But what else is it for? Put simply, adding colours through glazes/washes sets a mood, and provides the audience with a lens to judge it. Say we have a scene and apply a red glaze – it is uneasy, and makes us think of danger. A blue glaze makes it feel cold/depressed and so on.
Ready for glaze.
The above work was also done from the same seated position, and took about six weeks or so. I’m figuring out what colours I’ll apply to soften and enhance the feel and mood. Most likely I’ll use a lemon yellow to start with – really drawing out the acidic feel, and a little uncomfortable on the eye. After that a soft, perhaps pinkish hue. There may be another one, but we are on the home stretch(er).
Tá suil agam go bhfuil an bliain seo go mhaith ar son go léir.
Scaffold and vacuum cleaner peacefully co-exist after a successful de-install in The Permanent Collection Room.
Hard to believe I have been in residence in Limerick City Gallery for 7 weeks now. Before a catchup though I must give a special shout-out to my good friend Seán Healy, Contact Studios Alumnus, Gallery Interlude exhibitor, and fine artist and man. He has been extremely generous with his time and expertise, making and upkeeping my website over the years. It has been a great outlet for my musings – and a place to highlight my art and practice. A big míle míle maith agat mo cháirde!
Limerick Artists Book Expo 2021 with wall of drawings in background.
We kicked off Limerick Artists Book Expo 2021 this Monday 22, bringing the best of Limerick City & County into the gallery for the public to read and marvel at. My aim is to highlight the wealth and diversity of talent of the artists making such wonderful, accessible works, while informing people where they can purchase them, at local outlets, or directly from the artists themselves.
The expo features Lotte Bender, Pat Collins, Pat Corcoran, Tom Fitzgerald, Helena Grimes, Gavin Hogg , Michele Horrigan, Seán Lynch, Hugh MacMahon, Brian MacMahon, Clara McSweeney, Liz Ryan, John Shinnors and my own 2 books. My thanks to the artists for kindly lending me their books for the project, and sure you wouldn’t know, it might sew the seeds for something more substantial in the future.
Myself (l), Mark Sheehan (centre), Úna McCarthy (r) Director LCGA – photo courtesy Declan Greene).
As part of the Test Space Residency, I have been facilitated by the gallery to progress an animation of my book, Skippy’s Tale. It’s very exciting, and I am delighted to be collaborating on the project with Declan Greene – Photographer and painter and lead Animator on the project, and my Gallery Interlude collaborator and master musician Mark Sheehan. It’s based on a story board I made while based at the Cahill May Roberts building – recently demolished – simple drawings that Declan is making sense of, while Mark is laying down original music to imbue colour and mood. I’m providing voiceover, with a new script, and early versions are already amazing! Above photo is a meeting we had this week with the Director of LCGA Úna McCarthy, where we shared our first ‘rushes’. If we have it finished by year’s end we’d be doing well – it’s a long process, but I feel very rewarding and educational for us all.
Front desk, LCGA, pen and white paint pen on grey paper.
All the while I have been busy creating my visual love letter to the Carnegie Building, as the gallery is also known. New drawings are made each day, moving my chair around from upstairs, around the mezzanine, down the stairs, the foyer, the South Gallery, The Permanent Collection Room, The Hub and the main gallery. While there ‘incidental’ details are shown – aspects of Mark Garry’s fine show, musical recordings, and the occasional member of the invigilating team are captured. It is all part of the process of asserting my belief in the value of the subjective, fallible art of drawing as record, and has been of great value in developing and refreshing my own practice.
I would like to sincerely thank Úna, Siobhán, Sara, Brendan, Philip, Emily, Brendan, Steve, Yvonne and John for their many kindnesses, and for this amazing opportunity!
The lovely studio space upstairs in The Herbert Gallery, Limerick City Gallery of Art
A new chapter began Monday two weeks ago, as I took residence in The Limerick City Gallery of Art (LCGA) for an 8 week period. It’s a great privilege, and opportunity to be awarded the pilot Test Space Dual Residency in the esteemed premises. Alongside myself, on a complementary Virtual Residency is Rajinder Singh (I had the great pleasure of chatting with Rajinder – a very interesting artist and gent, and Sara Dowling of LCGA in a zoom meeting last week, about our mutual practices and what we will be working on – posted on Youtube – which is available online).
The pilot scheme is intended to try to bring a new dynamic to the gallery – an engine of communication with the public through talking about art in an informal way, and providing a space and platform for an in house and virtual artist to make work, and collaborate with Limerick city based groups.
October 19, pen on paper. A through the doorway glimpse of recording setup for The Irish Chamber Orchestra, recording in the adjacent gallery.
I’ll be pursuing a number of activities – drawing my surroundings in varying media, which I’m hanging up in a very casual/informal manner – a visual diary if you will. It is a great space – physically and mentally – to accelerate through the drawing gears, and affords the opportunity to discuss the merits, thoughts and approaches I am taking with members of the public.
As part of The Arts Council’s EHRD Policy and Strategy, I hope to work with Bedford Row Family Project over the next month or so, doing some workshops with this important and valuable local resource. I’ll also work with Declan Greene and Mark Sheehan on a new Skippy’s Tale animation, and hope to do a Limerick Artist illustrated book collection before the completion of my time here.
Drawing set up October 28, drawing on top of brown paper with black acrylic over paint.
I’ll as usual add news and images of my progress here, or check out my Carl Doran Test Space Residency Facebook page and/or Instagram page.
Sincere thanks to Director Úna McCarthy, Siobhán O’Reilly, Sara Dowling and all the welcoming team at LCGA – míle míle maith agaibh!
It’s been a difficult period over the last year and a half or so. Creatively, for many artists – myself included – the closing down of society and normal life has impacted the ability to think clearly, and make work.
In previous times with work and/or personal setbacks, when I have struggled in this way, I have gotten some satisfaction from lending a hand with studios, working with artists and the Gallery Interlude team , lobbying for the arts – anything in short that makes me feel I am making some meaningful contribution. It’s not perfect, but it makes me sleep easier.
Being unable to do these things in the last few months have forced me into a time of introspection, querying why I am not using the resulting time for more studio work?
Fragment of larger drawing in charcoal and acrylic, and 6 quick gestural charcoal studies.
It’s not as easy a question as it may sound. Many times over my years in Contact Studios, new members would come in, and it being awhile since practicing, would be apprehensive about whether ‘it’ would happen i.e. whether the old creative spirit and abilities would return?
My advice was uniformly the same – don’t put pressure on yourself – you don’t want to turn your time in the studio into something you dread. Begin with drawing, using low quality materials with which their is no expectation, and hopefully this will reignite your latent abilities. Lastly, and perhaps most importantly, fall into a schedule that works for you, be it morning, night, afternoon – whatever.
I’m taking my own advice over the last month, getting back to basics. I began with drawings on newsprint, with basic paint and rubbish brushes (forces you to use them better, and avoids intricacies). The subject is beside me – an adjacent studio space and its contents. These I do repeatedly, trying to understand them in a visual way – their weight/mass, negative and positive shapes. Colour is left out of the picture so to speak, as it complicates matters with too many options and concerns.
Initial layering on canvas – bag of plaster.
As I went on I became most interested in the form of a bag of plaster – trying to convey its weight and the tension on the paper wrapping the heavy dust. Moving on to working on canvas has been the next step, with its more complicating factors of under-painting, colour and all the micro actions when working with oil. It is of course early days, and as ever, time will tell whether they will work out or not, but we’re back in the saddle at least, and re-learning.
Initial layering on canvas – bag of plaster (2).
For now, we’ll ‘keep on keeping on like a bird that flew’ as Bob Dylan says, and see how we get on.
It’s been a while since I have put together stretchers – wooden frames over which canvas is stretched – certainly not since being in Contact Studios Prime, maybe 15 years ago or more.
The main reason for that was the technique I employed for a long time of pouring glazes, was unsuited to the surface. As can be seen from the above picture, taken in my studio, the base frame consists of 2×1 timber (baton), while a thinner piece (beading) is used on top, keeping the material taut and away from the baton surface.
The canvas needs a little ‘slack’, as the warmed up glue solution – ‘size’ – that is applied (above) adds extra tension, while also acting as a preservative and pre priming coat.
It’s a new primer I’m checking out, so I’m looking forward to seeing how the surface is to paint on.
