EVA International 1983 by EVA International

New Work of Past Winners

LIMERICK EXHIBITION OF VISUAL ART •

Introduction .

After six ann ual shows based on open entry, the Committee felt a need for change in 1983. Accordingly, all the previous prizewinners in EVA were invited to submit examples of recent work, as a way of discovering what h ad become of the Artists and their Work since receipt of their awards. Had their success in EVA been a source of encouragement or an insignificant event? Missing this year was the suspense and awe at the cascade of entries, the sweat of un-packing avalanches of art of diverse progenies, the addled foreign adjudicator striving to build an Exhibition for a confined space from a glut of hitherto unfamiliar sources and the agonising selection of award wmners. 0

Instead, we actually knew how many entries were expected (each Artist being confined to a maximum offourworks, two in the case of very large works), an Adjudicator was felt to be unnecessary and prizes were considered inappropriate. So the excitement for the Committee was in seeing how the Artists had progressed and how they had responded to the challenge of an EVA update. The response of the Artists is encouraging. Some have prepared new work specially for EVA 1983, others have submitted recent work, while a few who are not working at present, have submitted work from an earlier period. Unfortunately, one artist

has not participated, due to his retirement, at least temporarily, from the field. How they have f ared I will leave to the judgement of the reader. Bereft of an Adjudicator by our own doings, the Committee invited Aidan Dunne, Art Critic of 'In Dublin', to write an appraisal of EVA over the years and we are most grateful forthe detailed and observant way in which he has responded in his article titled 'ART' which follows this introduction. Venues, and the lack of them, have been the bane of EVA over the years. Limerick badly needs a larger Exhibition space of some quality to house this and other events. This year, to alleviate the space problem and to fulfil a long standing objective, the Show will run attwo venues concurrently, one in Belfast and the other in Limerick. We are most g ratefu I to the Arts Counci l of Northern Ireland for their assistance in this regard. The two shows will then merge in November in the Douglas Hyde Gallery in Dublin . Consistent with our continuing efforts to attract a wider audience and to promote EVA, the Committee has organised a series of lectures on contemporary art with the help of the Regional Management Centre in NIHE, Limerick. Full details ofthese lectures are outlined elsewhere in the catalogue. It is also customary but nonethelessâ&#x20AC;˘fitting for me to express our deep thanks to all our

sponsors. In these recessionary times, when the wolf is not only at the door but is trying to get out, we are only too deeply aware of the commitment required to make a contribution to the Arts. We can only hope that our sponsors feel as strongly as we do that the money was well spent. Finally, to the Artists in this year's Show, much thanks and good fortune in the year to come. To all other artists, watch out for EVA '84.

Hugh Murray Chairman of EVA.

Art In 1863the Salon des Refusessetthe trend for the artistic breakaway group, the heretical coup. A history of the modern art movements is a procession of orthodoxies overturned. In Ireland, too, we have had our share of aesthetic breaks. The Irish Exhibition of Living Art was founded in 1943 as an annual alternative t o the Royal Hibernian Academy and the other established shows. For a long time it retained its place as the premier exhibition of contemporary Irish art. Clear-cut judgements of primacy are harder in these less certain times, not only because there are more exhibitions, but because the field of endeavour is more open, less structured. The Independent Artists was formed in 1960, with the aim of exhibiting artists who did not fit into a commercial mould.lt was in effect an alternative to the Living Art. But divisions have steadily blurred since. Artists cross boundaries with impunity. The sway of the avant-garde, as an idea, has waned. The New Expressionism, for example, should not be mistaken for an aspiring orthodoxy. There is room for everyone. EVA is a creature of the times. It began with ca tholic aims. In conception it w as inclusive, not exclusive. It was not designed to project the predilections of a disaffected few.lt aspired to open up possibilities. The cause it espoused was that oft he region. The enemies were parochialism, the centralisation of cultural activity, the condescension of the capital. From the beginning, then, EVA differed radically from the other modern annual group shows. Annuals must always have the air of starting afresh. They ca n't settle

down or the prospect of stagnation faces them : the spectre of the academy looms. EVA was launched as a showcase for contemporary work. It had a variety of singular aspects. A regional show, it aimed from the start for national scope, could do nothing less. To celebrate the purely regional would have been an admission of defeat. The point was to let people see what was going on in a wider context. Seeing that, they might notice a little more what was going on at their own doorstep. For local artists, particularly young ones, there were obvious advantages in having their work juxtaposed with material from further afield. EVA clearly had potential for local students as an indigenous path to wider spaces. There must have been, as well, an awareness that they had something considerable to offer: a sideways, raking glance. Practically speaking, then, EVA began with a question. Why could n't the Arts Council support a regional group exhibition?ln reply to a request dispatched on hand-printed note paper, the Council expressed interest and indicated its willingness to lend support. The committee that first year (1977) numbered eight members : Chairwoman Ursula Brick, Charles Harper, Bob Hobby, Terence Leahy, Tom Fitzgerald, Dietrich Blodau, Willem Minjon and Kate Hennessy. Among the acknowledgements were the Arts Councils North and South, the NIHE Limerick, the Cork and Limerick Schools of Art and Kevin Cummins of the Cummins Gallery. There were three adjudicators: Brian King, Barrie Cooke and John Kelly. The show ran from September 26th to October 15th at three venues, the Municipal Gallery in Pery Square, the Cummins Gallery and the NIH E. The committee must have found the

initial response gratifying. Apart from the prizewinners, the exhibitors who won no prizes made up a pretty illustrious bunch. They included Maria Simmonds-Gooding, Paul Funge, Charles Tyrrell, Mary Fari-Powers, George Potter, Sean McSweeney, T. P. Flanagan, Cecil King, Gordon Woods, Martin Gale and Nigel Rolfe. The first prize in painting wentto a rising star, Graham Gingles, for 'Box No. 77'.Gingles' work often strikes a mood of psychological unease. His boxes are quasi-interiors occupied by objects and images, from literal to abstract in form, that function generally by association. Evidence is amassed: Art as pathology. Alan Robb, the second-prize winner, has worked consistently in a Pop vein. His pictures consist of hard-edged, densely patterned, figurative details fragmented almost to the point of abstraction, rendered with a heavy black outline and simplified colour. They are influenced by Lichtenstein, Caulfield and conceivably Rosenquist. Pat Harris, honourably mentioned, was at the time painting small, figurative pieces into which he compressed a private symbolism. Time, and residence in Brussels, has upped the physical scale of his work. It is still sombre, intense and personal. Alan Green took f irst prize in graphics for a starkly simple, minimalist etching that played with the idea of figure and ground as ground-on-ground. The runner up, Paul Mosse, showed an intricately detailed 'Snipe's Skull'. His more recent reliefs evidence a continuing preoccupation with fine detail, pushed to abstraction. His work has an organically derived complexity analogous to a magnified view of a

microchip.lan Sutherland, who earned an honourable mention, treated the work surface as a wall to be layered with graffiti. The langu age tends towards the private and hermetic, like the arcane calligraphy of Licata. The pictures are evocative accretions of st ains, textures, shapes, splashes and drips. Also honourably mentioned were Michael O'Neill's cartographic meditations on the image ofthe city, constructed with the same fanatical exactitude as a Borges fiction. The sculpture prizes went to work that looked mainstream modern, and reflected the dominance of Cork. First to Robbie McDonald and second to Eilis O'Connell, an artist of tremendous resourcefulness and restless energy. Only Benedict Tutty's idiomatic 'Crucifixion', honourably mentioned, ensured a figurative presence. The first EVA was a credible affair. It attracted a formidable range of artists with established national and international reputations as well as younger exhibitors. And it boasted strong regional representation. Its value as a testing ground for homegrown talent was immediately apparent. In selecting a plausible group of winners it displayed that prescience (particularly with regard to Gingles and O'Connell) vital to a show with ambitions of national significance. So far, EVA hadn't put a foot wrong. In 1978, though, the entry was smaller, a point bemoaned by the adjudicators, Theo McNab, Adrian Hall, Coil in Murray and Charles Harper, in their preface to the catalogue. They still managed to pull together a fairly strong exhibition. Anthony O'Carroll, a subtle, refined picture maker, took first prize for

painting. The delicate, layered grounds in his paintings are reminiscent of the diffuse light of Patrick Collins, but otherwise he is more stringent and calculated in his concerns: the atmospherics of surface set against the harshness of division, whether by line or relief. Second prize for painting went to Siobhan Piercy, a Cork artist with an objective, cerebral approach. Although her 'Figure on Balcony' is in a photo realist manner, with a highly organised literal content, it is more about technique. She is interested in organising information within a given discipline. First prize in graphics went to a clever minimalist ink drawing by Joel Fisher, in which the irregular grid composition was determined by the paper's mode of manufacture. It was a neat example of a medium interrogating itself, a convincing product of an interest in process that is echoed in the analytical inclination of the second-prize winner, Brenda Kelliher. The sculpture prizes went to David Leverett and James Buckley, confirming the adjudicators preference for minimal, reductionist, overtly intellectual work. The awards were a reflection of the mood of the time, exemplified by a distrust of an instinctive, expressionistic method. But were they a reflection of the general tenor of the show? Given that awards are not likely to and shouldn't necessarily do so, it is still a fact that the dice is always loaded in favour of the prevailing trend. There was, in fact, in the overall selection, a convincing minimalist presence, with work that might be so described by, for example, Fe lim Egan, Sam Walsh and Michael Coleman. But the exhibition was not

monotonous, there was a fairly vigorous mix. It included work by Cecily Brennan, Sean McSweeney, Gerald Davis, Jack Donovan, Charles Harper, Bob Mulcahy and Donald Teskey. After two years of existence, EVA opted for a unique organising principle. The problem of selection and adjudication exercised the minds of those on the committee. For the 1979 show, it was decided to appoint a single selector/adjudicator whose qualifications would include residence abroad and serious involvement in contemporary art. This person would have a free hand. In many respects it was an extraordinary decision. It demanded an exceptional degree of selflessness on the part of those members of the committee with personal artistic commitments. They had no control over the content of the show. Everything was up for grabs. On the positive side, the possibility of a proprietorial elite establishing itself was effectively ruled out. There were other risks. The show might be taken advantage of. Adjudicators might easily take a partisan approach, in line with their own sympathies. Clearly, the way to obviate that danger was to choose carefully. EVA '79 was an experiment, and the person chosen to carry it out was Sandy Nairne, then Assistant Keeperofthe Moden Collection at the Tate. In the catalogue, Nairne praised the 'variety and quality oft he work submitted'. He was aware ofthe importance of strategy in his choice and consciously 'tried not to bias the selection in any one direction'. Adverse comment was reserved for the sculpture entry. He decided notto

award the first prize in that section. Fe lim Egan's 'Composition with Red' took the show's new open award.lt was an excellent choice. Egan is an extraordinarily accomplished young painter who has evolved a unique visual grammar of abstract, almost musical forms. His professed sources include megalithic spiral drawing and Irish traditional music. The serene poise of his work does suggest a primitive sign-system like Ogham, and musical notation, if not quite the earthy vigour oftradltional music. Egan uses neon in a notably effective way. The first prize in painting went to the determined minimalist M ichael Coleman, whose work has been both consistently programmatic and surprisingly painterly In Its treatment of pigment. BarrieCooketookthe second prize for his untypical 'Woman in the Burren ': blocked-in nude against regimented landscape. For graphics, John Aiken, with a study of a rotating grid, and Joseph Lee, with a stark, direct, photographic screen print, took the prizes. Roy Johnston received the back-handed compliment of second prize for sculpture. 'Square to Cube Transformation' is clever, if cumbersome in presentation. Michael Farrell made a notable arrival on the scene, as did Eithne Jordan. Gene Lambert showed a strong painting, and several EVA stalwarts acquitted themselves well, including Vivienne Bogan, Sam Walsh, Paul O'Reilly and Jack Donovan. The experiment was a success. The '79 exhibition effectively secured the reputation of EVA. Nairne left a few questions open (no Sean M cSweeney, the same year that he won the Carroll's award in the Living Art? Had he submitted work?) but

generally acquitted himself well. Administratively, too, the show was lucky, thriving on the organisational expertise of committee members like Tony Rodgers and Lorraine Wall. In 1980 Brian O'Doherty flew in from New York and put t ogether a very convincing show. As an artist and critic, he was aware of the invidious nature of any selection process. 'I was alone with your own work and my own predilections', he addressed the artists in the catalogue 'and what I selected reflects the latter, however I trytocorrectthem.' He went for pieces that insisted on their own primacy, an extension of Nairne's observation that as art was an obsessive activity, he looked for work that echoed some of that obsessiveness. Any imputed solipsism maintains only inside the artist's head, however. We have long since emerged from that era in which alternative, even antagonistic art movements were held to be mutually exclusive. EVA, in opting forthe dispassionate eye of an outsider, was actually espousing the eclectic cause. O'Doherty's show made a catholic mix, even though he made his bias plain from the outset: ' I'm attracted by work that comes on slow, the intellectually firm, the linear rather than the painterly .. .' He too praised the strength of the submission. When it came to the prizes, was it going to be anotherfairly minimalist year? As it happened, not quite. The open award went to sculptor Tom Fitzgerald for his 'Craggauno wen Piece' a squat, bulky limestone slab, a solid hunk of a sculpture. Michael Coleman took the first painting prize for the second year running. This time the work's textured surface was bisected, presaging later diptychs and

triptychs. Second prize for painting went, however, to Jack Donovan, a resourceful and witty (a quality O'Doherty declared himself partial to) Limerick painter. His collage-pain tings are so well known that they are usually taken for granted. That this abrasive satirist should fail to be honoured in his own city's premier exhibition would amount. in any chronicle of EVA, to a remarkable omission. And he is by no means the only such case. Yet EVA courted just such a possibility by its unique selection process. The price of a fresh glance at Irish art was the denial of any local elite proclaiming itself the arbiter of quality. Not a bad bargain, butthere were bound to be regrets. Mike Fitzpatrick took first prize for sculpture with a formidable corner piece of wood and hay.lts conceptual neatness clearly appealed to O'Doherty, as did its vernacularform. Deborah Brown took second prize with one of her gossamer-lig ht glass fibre forms. The graphics prizes went to Michael O'Neill (also a first year award winner) and to Donncha MacGabhann, who produces exact , meticulous record drawings of stone forms. The vigour and strength ofthe painting in EVA '80 was notable in the light of O'Doherty's professed wariness ofthe painterly. Among a strong entry, Barrie Cooke's splendid 'Lake Light' had the look of a prizewinner. But apart from that, Gene Lambert, John Kelly, Laurence Bennett, John Renwick and Stephen Snoddy all showed work that functioned on the basis of a specifically painterly energy. Pierre Restany, a writer with formidable adjudication experience for the major Art Biennales, came to

select and judge EVA '81. He too felt the burden of individual responsibility and looked on it as a 'ticklish but tempting kind of experiment'. As a writer, heavily involved in theoretical activity (he founded, in 1955, the 'Nouveaux Realistes'movement which included, among others, Arman, Christo and Klien), it was reasonable to expect that he would opt for a partisan selection. Restanywas instinctively attracted to Tom Fitzgerald's work 'in which I felt the presence of a secret meaning beyond the forms, a recalling oftraditional archaism'. So 'Leaba Dhiarmada agus Ghrainne {II)' took the open award for Fitzgerald, for the second consecutive year. An aggregate sculpture, it was distinguished by a spare lucidity of thought. The graphic/photographic section pleased Restany. He thought the standard uniformly high. Prizewinners Donald Teskey (a talented draughtsman who works close to photorealism but invests his images with anticipatory, symbolic weight), and Miriam Flanagan , were chosen, said Restany, as being representative of the whole. He was less happy with the sculpture. Two project artists, Danny McCarthy and Joanna Treacy, took the prizes. McCarthy for 'H', which involved cress seed being sieved through a stencilled H prior to the show, then growing and flowering throughout it. Treacy proposed a beehive shape construction of mud bricks. Overt political statement and formalist exercise. The painting section gave Restany even more problems.'A good medium-average standard of quality', he concluded. Ben Stack's 'Northern Series' impressed him and

took first prize. It juxtaposed stencilled texts with quasi-photographically treated media images of conflict in the North. No second prize was awarded. Restany clearly favoured work that had about it a sense of beginning, an openness. Art engage, as well, that formally interacted with its subject matter in the world, and tended to rely for its validity on a kind of intellectual scaffolding. The graphic awards were a notable exception. He came closest, perhaps, of all the adjudicators, to originating the kind of curatorial exhibition that is dominated by the personality and thesis of the selector. The show, in other words, becomes a means of expression for the curator, becomes, in a way, his statement, his creation. Comparatively speaking, EVA '81 was noticeably erratic. The difference was probably that all the other selectors tried to express. in their choice, energies, directions and ideas that they encountered in the entry, curbing their own aesthetic inclinations. There was much, anyway, in EVA '81, that was entirely creditable: work by Vivienne Bogan (who won a GPA award the following year), Roy Johnston, Anthony O'Carroll, Audrey Mullins, Paul O'Keefe, Helen Comerford and Alistair Wilson. Neither Sam Walsh nor Charles Harper, though selected every year, were eligible for prizes as they were committee members. Harper's '81 entry. 'Bel/iss ima ',surely deserved a prize. If EVA faltered in '81, the sheer energy of the '82 show more than made up for it. The entry exceeded five hundred pieces. When the adjudicator saw the Municipal Gallery 'with its three tiny wings', she realised that she would be 'rejecting overfour hundred works by Irish artists'.

Lies beth Brandt Corstius, art critic and administrator (since August '82 director of the Municipal Museum in Arnhem), was an enthusiastic, provocative adjudicator. She obviously enjoyed her job, though hated rejecting work. The show she chose was formidable, diverse, cheerfully enterprising, and reflected plainly the genuine resurgence in artistic endeavour that has been effected in the last few years, North and South.lt was, as Paul O'Reilly commented in the catalogue, 'the sunny side of the street'. The tone was set by the painting that took the open award, Breda Kennedy's 'Untitled No.3', an attractive, painterly painting, playful and exuberant in tone. The picture functions by imposing spontaneous expression on a certain given order, represented by geometric pattern.lt's left crucially unresolved, loose ended. Anne Carlisle, who took the painting prize, did nothing to fracture the mood. She is a kind of genuine faux naifwho likes to impose a child's world view. Humour is an invariable and welcome ingredient. She loves puns.Herapproachisfreshness personified.

'Object No.9', which won the graphics prize for Willie Heron, bears a certain resemblance to the Carlisle, consisting of a central, simple form, ironically perceived, clever and conceptually neat. Simon Moller's wall-like construction, in latex, plaster and steel, which took the sculpture prize, was about as large a piece as the exhibition could accommodate. There was lots more of interest. Ron Melling showed a quietly impressive painting . Charles Tyrrell gave a hint of a major development in his work. Mick Cullen, Mick Mulcahy, Gerard Cox, EithneJordan, RobertJanz, Jill Nunn,

Committee Members 1977-1983

Previous Prize Winners Gerda Teljeur all came across strongly. There was genuine feeling of compression. Surely, one felt. a lot of good work was left out. (It is worth noting that four out of this year's six GPA award winners exhibited at EVA '82.) EVA is a success story, but the show is not without problems. It is certainly threatening to burst out of the attractive but cramped space of the Municipal (this year's show actually does so). An event that has thrived on change, that has shown the initiative to develop at every turn, must consider new departures, perhaps a move away from the single adjudicator/compressed selection format that has served it so well. It has been fortunate in maintaining a high selling rate and an impressive standard of administration.lt has prospered by reflecting diversity instead of espousing or proclaiming any particular trend. No one knows what comes after this year's excursion into some well earned self-congratulation. All one can say for sure is that EVA has earned our confident anticipation. Whatever course it chooses to take we can be sure, on past evidence, that it will be worth seeing . At a time when group shows are foundering left, right and centre, it is an impressive position to be in. With luck and judgement, EVA will make the most of it.

Aidan Dunne

1979 1980 1981 1982

Patrons' Award Felim Egan Tom Fitzgerald Tom Fitzgerald Breda Kennedy

1977 1978 1979 1980 1981 1982

Painting Prizes Graham Gingles/Aian Robb Anthony O'Carroii/Siobhan Piercy M ichael Coleman/Barrie Cooke M ichael Coleman/Jack Donovan Ben Stack Ann Carlisle

1977 1978 1979 1980 1981 1982

Sculpture Prizes Robert McDonald/Eilis O'Connell . David Leverett/James Buckley Roy Johnston M ike Fitzpatrick/Deborah Brown Danny M cCarthy/Joanna Tracey Simon Moiler

1977 1978 1979 1980 1981 1982

Graphics Prizes Alan Green/Paul Masse Joel Fisher/Brenda Kelliher John Aiken/Joseph Lee M ichael O'Neill/Don MacGabhann Donald Teskey/Miriam Flanagan Willie Heron

1977

Ursula Brick* Dietrich Blodau * Gerry Dukes Tom Fitzgerald* Charles Harper* Kate Hennessy* Bob Hobby* Brendan Lane Terence Leahy* Joh n Logan Paul Lynam Don MacGabhann Willem Minjon* Hugh Murray Tony Rodgers Lorraine Wall Samuel Walsh * denotes founder member

Honourable M entions (at the discretion of the adjudicator) Patrick Harris, Daniel O'Gorman, Benedict Tutty, lan Sutherland, Michael O'Neill.

Adjudicators 1977- 1983 1977

1978

1979 1980 1981 1982

Barrie Cooke John Kelly Brian King Adrian Hall Charles Harper Thea McNab Coilin Murray Sandy Nairne (England) Brian O'Doherty (USA) Pierre Restany (France) Liesbeth Brandt Corstius (Netherlands)

10.00 • 1.00/2.30 · 8.00 10.00 • 1.00

Venues

Fringe events

LIMERICK Municipal Art Gallery Pery Square Limerick 3-29 October 1983

Series of lectures on 'Aspects of Contemporary Art' being held in association with the Regional Management Centre, NIHE, Limerick. The purpose ofthese lectures is to assist the general public in an understanding ofthe concepts involved in the creation of contemporary art.

Monday-Friday Saturday

BELFAST The Arts Council Gallery Bedford Street Belfast 8 October- 5 November 1983 10.00 · 6.00 Tuesday-Saturday

DUBLIN The Douglas Hyde Gallery* Trinity College Dublin 18 November- 22 December 1983 11.00 • 5.00

Monday-Saturday

* The Exhibition at the Douglas Hyde Gallery consists of a selection of the works illustrated in the catalogue due to restriction of space.

'Introduction to EVA' by Paul O'Reilly Municipal Art Gallery, Pery Sq Limerick. Wednesday 12 October 7.30 pm. The following will be held at NIHE, Limerick. 'Contemporary European Art' by Dorothy Walker Wednesday 19 October 7.30 pm . 'Eng lish Pop Art' by Sam Walsh Wednesday 26 October 7.30 pm. 'Art and Performance' by Alastair M ac Len nan Wednesday 2 November7.30 pm . 'Patterns in 20th Centu ry USA Art' by Paul O'Reilly Wednesday 9 November 7.30 pm. 'Art and Photography' by Robert Ballagh Wednesday 16 November7.30 pm . 'The New Expression ism' by Aidan Dunne Wednesday 23 November7.30 pm.

With the assistance of the Arts Council and The Arts Council of Northern Ireland

'Art in Ulster Now' by Mike Catto Wednesday 30 November 7.30 pm . For further details contact Catherine M cGeachy at 061-43644

Sponsors 1983

Committee 1983

Analog Devices Aughinish Alumina Limited Allied Irish Banks Limited Allied Irish Finance Company Limited Atari Ireland Limited Bank of Ireland Burlington Industries Co- operation North Cummins Framing Centre David Allen Advertising Elsevier Scientific Publishers Ireland Limited Guinness Peat Aviation Helene Modes Howmedica International Hydrocurve Limited Luke Kiernan, M .P.S.I. Lombard & Ulster James McMahon Limited Murray Sweeney & Co. Solicitors Neodata Limited Radio Telefis Eireann Regional Management Centre, Limerick Reynolds Cooper McCarron Dan Ryan Truck Rentals Shannonside Oil Limited Shannon Development Company Tulia Electronics Stoneyard Ltd., Limerick and Dublin Verba tim Limited Mid-West Branch Royal Institute of Architects of Ireland Limerick Corporation

Chairman Hugh Murray Treasurer Tony Rodgers Press Officer Brendan Lane Secretary Lorraine Wall Charles Harper John Logan Paul Lynam Administrator Paul O'Reilly

The Exhibition All measurements in centimetres height x width x depth

Venues To indicate which works are being exhibited at these separate venues, each entry has the letter L orB. (for Limerick or Belfast respectively) overhead the catalogue number. The Exhibition at the Douglas Hyde Gallery consists of a selection of the works illustrated in the catalogue due to restriction of space.

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John Aiken Born in Belfast in 1950. Studied at Chelsea School of Art, London. Currently working in London ; lecturer in Slade School of Fi ne Art, London.

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• .. .ill

8 1

8 Study for Sculpture Running Man Series (1983) Mixed m edia 40 X 35 STG£200

. 3 The Classical Tradition (1982) M ixed media Tw o parts, each 63.5 x 63.5 STG£350

Study for Sculpture Running Man Series (1983) M ixed media 40 X 35 STG£200

Deborah Brown Born in Belfast in 1927. Studied at Belfast College of Art and The National College of Art, Dublin. Currently working in Belfast. I

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L 4 Seated Figure I (1981) Wire and papier mach6 on base with perspex cover

IR£500

B 6 Seated Figure II (1982) Wire and papier mllch6 on base with perspex cover 38.7 X 23.7 X 41 .3 IR£500

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Waiting(1981) Wire and papier miiche on base with perspex cover 38.7 X 37 X 46.4 IR£600

7 Group of Standing Figures (1982) Wire and papier mllche on base with perspex cover 31.3 X 21.4 X 51 .5 IR£600

James Buckley Born in Cork in 1957. Studied at Crawford Municipal School of Art, Cork. Currently working in Cork.

8 Sauros I (1983) Welded Steel 191 X 210 X 98 IR£410

L 9 Steel List II (1983) Welded Steel 68 X 85 X 54 IR£290

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B 10 Sauros II (1983) Welded Steel 47 X 68 X 38 IR£220

B 11 Release Ill (1983) Welded Steel 144 X 98 X 72 IR£390

Anne Carlisle Born in Tem plepatrick i n 1957. Studied at Ulster Polytechnic, Belfast and Chelsea College of Art, London. Currently working in Belfast.

' I

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\] .,, L 12 Wing and Wing (1983) Mixed media on paper 136 X 10Q.5 STG£250

\v ' L 13 Winged (1983) Mixed media on paper 136 X 100.5 STG£250

'I B 14 Mask(1983) 137 X 101 .5 Ink, charcoal, oil on paper STG£250

B 15 /ndian(1983) 137 X 101 .5 Oil, pencil, ink on paper STG£250

Michael Coleman Born in Dublin in 1951. Self taught. Cu rrently working in Vienna.

8 16 Vermillion over Magenta Oil on canvas 150 X 150 IR£900

8 17 Cadmium Oil on canvas 150 X 150 IR£900 •

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L 18 Lemon Oil on canvas 150 X 150 IR£900

L 19 Lime Oil on canvas 150 X 150 IR£900

Barrie Cooke Born in England in 1931. Studied at Harvard and Skowhegan . Currently working in County Kilkenny.

L 20 Study, Romantic Elk (1983) Oil on panel 45.6 X 45.6 IR£400

B 22 Elk (1983) Charcoal on paper 75.2 X 106 IR£300

21 Elk Head (1983) Charcoal and paint on paper 65 X 89.7 IR£300

B 23 Megaceros Hibernicum (1983) Oil on linen

167.5

IR£2000

183.5

Jac k Donovan Born in Limerick in 1934. Studied at Limerick School of Art. Currently working in County Limerick; Artistic Director at School of Art and Design, Limerick.

B 24 Lament for the Stuarts I (1982) Oil on canvas 120 X 92.7 IR£1000

2 6 Patriot Clown I (1983) Oil on board 61 X 45 IR£400

26 Patriot Clown II (1983) Oil on board

60 X 50 IR£400

L 27 Frightened Clown (1982) Mixed media on paper 41 .5 X 29 IR£300

FelimEgan Born in Strabane in 1952. Studied at Ulster Polytechnic, Belfast, Portsmouth Polytechnic and The Slade School of Fine Art, London. Currently working in Dublin.

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\ I

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L 28 Dawn (1983) Acrylic on canvas 210 X 210 IR£1600

L 30 Triptych (1983) Acrylic on canvas and board with neon 3 panels each 122 x 244 IR£2200

B 29 Figure (1983) Acrylic on canvas 210 X 210 IR£1600

B 31 Time/Space (1983) Neon installation 100 X 50 IR£380

Joel Fisher Born in Ohio in 1947. Studied at Kenyon College, Ohio. Currently working in England.

• • B 3 2 Boundary Internal, Closed Paper Ink and handmade paper 91 X 91 IR£750

33 Hair Square No. 24 Hair and pins on board 64 X 60.5

N.F.S. Collect ion of Cecil King

••

Tom Fitzgerald Born in limerick in 1939. Studied at limerick School of Art. Currently working in County Limerick; lecturer in School of Art and Design, Limerick.

B 34 Habitation Trace Ill (19831 M ixed media on perspex 76 X 75.5 IR£175

L 35 Device No.1(Unwind the Bandaged Mind) (1983) Leather, slate, stone wood construction 44 X30X12 IR£275

L 36 Apparatus No. 1 (1983) Wood, Limestone, Slate, Rope 249 X 178 X174 IR£850

B 37 Apparatus No. 2 (1983) Wood, Limestone, Lead, Rope 215 X 204 X124 IR£850

Mike Fitzpatrick Born in Clare in 1959. Studied at Limerick School of Art and Design, Limerick, and Accademia di Belle Arti di Brera, Milan. Currently working in Milan.

L 38 Due Piccolo Vomini (1983) Wood and plaster 160 x 80 x 24 IR£250

L 39 Amore (1983) Wax and pigment on paper 100 X 70 IR£120 I

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, B

40 Peso (1983) Wax and pigment on paper 100 X 70 IR£120

B 4 1 Caught (1983) Wax and pigment on paper 100 X 70 IR£120

Miriam Flanagan Born in Dublin in 1955. Studied at Dun Laoghaire School of Art. Currently working in Dun Laoghaire School of Art.

I I

I B

42 Botanic ( 1981)

43 Light and Shade (1981)

Etching

Photograph

32.5 X 43 IR£80

25.5 X 19.7 IR£80

(

L 44 Marathon (1982) Oil on canvas

IR£80

53.5

Graham Patrick Gi ngles Born in Larne in 1943. Studied at Belfast College of Art and at Hornsey College of Art. Currently working in County Antrim.

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....,.

...

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L 4 5 Hang the Man (1982) Mixed media construction 45 X 60.5 X 5 STG£250

L 4 6 Tomb for A M .P. II (1982) Mixed media construction 76 x 57 x5 STG£300

' 8 47 Tomb for A M .P. I (1982) Mixed media construction 61 X 45.3 STG£350

8 48 Tomb for J, II (1982) Mixed media construction 44.5 X 57.5 X 14 STG£350

Alan Green Born in London in 1932. Studied at Beckenham School of Art and at The Royal College of Art, London. Currently working in London.

L 49 Centre to Edge, Black to Green (1979) Etching 48 X 48 N .F.S.

Kindly lent by Paul Bristow

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B 51 Centre to Edge, Neutral to Black(1979) Etching

48X48 N .F.S.

Kindly lent by Paul Bristow

L 50 Centre to Edge, Black over White (1979)

Etching 47 X 47 N.F.S.

Kindly lent by Paul Bristow

Pat Harris Born in Dublin in 1953. Studied at National College of Art and Design, Dublin and at Higher Institute of Fine Arts, Antwerp. Currently working in Antwerp.

L 52 Man with Plant (1982) Oil on linen 75 X90 IR£475

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B 53 Girl with Plant (1982)

Oil on linen 90 X 75 IR£475

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W illie Heron Born in Newtownards in 1953. Studied at Northern Ireland Polytechnic and at Wolverhampton Polytechnic. Currently working in County Down.

L 54 Bell, Part One Colour Photograph

57.3 X 83.5 N.F.S.

55 Bell, Part Two Wood and metal construction 103 X 178 X 56 N.F.S .

15.2

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B 56 Fire Man Carbon on paper

53.4 X 42 STGÂŁ155

57 Inside, Outside Ink on paper 9 1.5 X 63.5 STGÂŁ220

Roy Johnston Born in Co. Tyrone in 1936. Studied at Stranmillis College, Belfast College of Art and Cardiff College of Art. Currently worki ng in Belfast; lecturer in the School of Fine Art, Ulster Polytechnic.

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L 68 Breakdown (1983) Charcoal on paper 102 X 90 IR£375

69 Tectonic (1983) Charcoal on paper 90 X 87.5 IR£376

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I ~ B 60 Axis (1983) Charcoal on paper 87 X 61 IR£275

B 61 Dud (1983) Charcoal on paper 87 X 61 IR£275

Brenda Kelliher Born in Tralee in 1946. Studied at Brighton College of Art, The National College of Art and Design, Dublin and atthe University of Perugia. Currently working in County Tipperary; teacher in Roscrea Vocational School.

L 62 Rust Progress (1983) Handmade paper 52 X 121.3 IR£250

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63 Textile (1983) Handmade paper 33 X 61.8 IR£150

B B 64 Birch Book (1983) 65 Edges (1983) Mixed media with Handmade paper 52 X 121.5 handmade paper IR£250 44.5 X 137 IR£250

Breda Kennedy Born in Oxford in 1960. Studied at Galway Regional Technical College, Ulster Polytechnic, Belfast and Staatliche Kunstakademic, Dusseldorf. Currently working in Germany.

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66 Splay (1982) Acrylic on paper 100 X 132 IR£260

67 Vortex (1982) Acrylic on paper 125.5 X 96 IR£265

68 Papagei I, Deutschland '83 (1983) Colour photographs Set of four, each 74.5 x 50.7 IR£375

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69 Pagagei II, Deutschland '83 (1983) Colour photographs Set of four, each 74.5 x 50.7 IR£375

Joe lee Born in Dublin in 1958. Studied at The National College of Art and Design, Dublin. Currently working in Dublin.

L 70 Underview (1983) Photomontage 35 X 66.5 IR£250

8 72 Undertones (1983) Photomontage 38.5 X 50.2 IR£250

L 71 Listening For Tone (1983) Photomontage 58.7 X 80.5 IR£250

8 73 Scene of the Crime (1983) Photomontage 59 X 83 IR£250

David Leverett Born in Nottingham in 1938. Studied at Nottingham College of Art and The Royal Academy Schools, London. Currently working in London.

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L 74 Legacy of Artreus Screenpri nt Set of four, each 68.5 x 11 6 STGÂŁ150 each

L 75 Legacy of Artreus

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B 76 Legacy of Artreus

B 77 Legacy of Artreus

Danny McCarthy Born in Mallow in 1950. Studied at National College of Art and Design, Dublin. Currently working in Cork.

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L 79 A Potato is Forever (1983) Mixed media installation 244 X 106.8 IR£350

L 78 Incantation One (1983) Mixed media on paper 75 X 53.5 IR£150

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'YOU DON'T HAVE TO BE AN ARTIST TO DRAW CONCLUSIONS'

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B 80 Signs, Symbols, Secret Texts Ink on paper 55 X 75.2 IR£150

B 81 You Don't Have To Be An Artist To Draw Conclusions Mixed media installation

213.4

91.5

IR£300 VVork in progress

Don MacGabhann Born in Limerick in 1957. Studied at School of of Art and Design, Limerick. Currently working in County Limerick; teacher in Presentation - de Ia Salle School, Hospital.

l' L 82 Stone Story in 2 Parts (1982)

Pencil on paper 40 X 54.3 IR£175

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L 8 3 Stone Story in 2 Parts (1983) Pencil on paper 30.5 X 45.1 IR£175 I

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r B 84 Drawing Straws for Molloy Pencil on paper

57.2 x77.5 IR£300

B 85 Untitled Stone Circle Pencil on Paper 57.2 X 57.2 IR£300

Robert MacDonald Born in Cork in 1954. Studied at Crawford Municipal School of Art, Cork. Currently the Administrator at Triskel Arts Centre.

Robert McDonald is currently the Director of the Triskel Arts Centre, Cork. The following is a summary of his activities.

The Triskel Arts Centre was founded in 1978 by Patrick McQuaid .

My initial involvrnent was

practical - I was roped into converting an old warehouse which became the first Triskel premises . Since then Patrick has departed to become Director of the British Federation of Artists , and Triskel has gone through three changes of address .

Our

programme over the years has embraced poetry , music, theatre, performance arts and , of course , the visual arts - perhaps our greatest strength to date .

We also published a magazine, THE CORK

REVIEW , which finally succumbed to the economic climate , though not before putting up a brave fight .

Simon Moller Born in England in 1953. Studied at Gwent College of Higher Education and at The Royal College of Art. Currently working in Limerick; lecturer in School of Art and Design, Limerick.

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87 Keystone (1983) Stone, cement, plaster, wood, steel

88 Bslsnced Column (1983) Plaster

241 X 227 X 70 N.F.S.

182.5 x32 x 57 N.F.S.

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L 89 Untitled (1983) Plaster 91 .4 X 137.2 X 10.2 N.F.S.

90 Drawing (1983) Marble, paper, wood, wax, carbon 213.7 X 137.2 X 76.2 N.F.S.

PauiMosse Born in Bennettsbridge in 1946. Studied at Berkshire College of Art and at Chelsea School of Art, London. Currently working in County Waterford; lecturer in Waterford Regional Technical College.

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L 91 Xerox Kitchen I (1983) M ixed media 28.5 X 20.3 X 5 IR£250

92 Through to the Kitchen (1981) Mixed media 52 X 40.5 N.F.S.

Collect ion of the Allied Irish Investment Bank, Dublin I

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B 93 Xerox Kitchen 2 (1981) Mixed media 31 X 39 X 5 IR£250

B 94 Xerox Kitchen 3 (1981) Mixed media 116 X 41 .3 IR£500

Anthony O'Carroll Born in Dublin in 1942. Studied at The National College of A rt, Dublin. Currently working in Sweden.

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L 95

Untitled (1983) Oil on paper 78 X 114.5 IR£650

L 96 Untitled (1983) Oil on paper 56 X 78 X 4 IR£400 •

I B 97 Untitled (1983) Oil on paper 78 X 114.5 IR£650

98 Untitled (1983) Oil on paper 56 X 78 X 4 IR£400

Eilis O'Connell Born in Londonderry in 1953. Studied at Crawford School of Art, Cork. Currently working in County Cork. •

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B 99 Turfing It Down To Its Slender Quarry M ixed media on handmade paper 4 panels, each 170 x 110 IR£700 per panel

L 100 India Slate Slate and steel 78 X 105 X 24 IR£650

8 101 Rangle Wise Slate and steel

97.5 X 50 X 33 IR£700

L 102 Ancient Paper Mill Collage on handmade paper 76 X 35.5 IR£270

Michael O'Neill Born in Limerick in 1953. Studied at School of Art, Limerick. Currently working in County Kildare.

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L 103 Imaginary M etropolis Updated (1983) Pencil on paper 40.5 X 78.8 IR£500

L 104 Imaginary Metropolis (1977) Etching

30 X 60 N.F.S. Collection of Hugh Murray, Limerick

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B 1 OS Urbs Antique Fuit Pencil on paper 85.5 X 59.5 IR£1300

B 106 Leaf City with Parasites Pencil on paper 57

N.F.S. Collection ofT. A. Marrin

Siobhan Piercy Born in Rutlandshire in 1957. Studied at Ravens bourne College of Art and Design and at The Crawford Municipal School of Art, Cork. Currently working in Galway; lecturer in Galway Regional Technical College.

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L 107 Perceptual Permutations No. 7 (1983) Etching

L 108 Crowd Section (1982) Screenprint and collage 52 X 52

58.5

IR£1 15

IA£175

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• • • B 109 Perceptual Permutations No. 6 Screenprint and perspex 3 panels, each 97 x 24

IA£280

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B 110 Tulips Acrylic on canvas 61 X 101.5 IR£240

AlanRobb Born in Glasgow in 1946. Studied at Aberdeen College of Art and Royal College of Art, London. Currently working in Dundee; lecturer in Duncan of Jordanstone College of Art, Dundee.

L 111 Sideslip (1972-76) Acrylic on canvas 86 X 91.5 N .F.S.

Collection of the Arts Council of Northern Ireland

â&#x20AC;˘ B 112 Residue (1978) Acrylic on canvas

152

182.3

N .F.S.

Collection of the Arts Council of Ireland

Ben Stack Born in Dublin in 1959. Studied in Dun Laoghaire School of Art, Kunstacademy, Maastricht and at The National College of Art and Design, Dublin . Currently w orking in Cou nty Wicklow .

L 113 Society of Accident ( 1983) Ink on paper 89 X 78.5 IR£222

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L 114 Soliloquy (1983) Oil on canvas 155.5 X 184.2 IR£500

8 115 Chant/A Triptych in Tetra text (1981) Oil on canvas Three panels, each 122 x 93 IR£666

8 116 Archangel ( 1982) Oil on canvas 185.3 X 165.5 IR£500

lanA. A. Sutherland Born in Donegal in 1943. Studied at The Central School of Art and Design, London, Centro de Arte, M iraflores, Lima and at Limerick School of Art. Currently working in Cork; lecturer in Crawford Municipal School of Art, Cork.

L 117 Day Trip Acrylic, sand, glue on canvas 111.8 X 86.3 IR£500

L 118 A Fair Field And No Favour Acrylic on canvas 137.2 X 101 .6 IR£500

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B 119 Das Bein Wird Mode Acrylic on canvas 137.3 X 101.6 IR£500

B 120 Best Climate In The World Acrylic on canvas 111.8 X 86.3 IR£500

Donald Teskey Born in Rathkeale in 1956. Studied at School of Art and Design, Limerick. Currently working in Dublin.

L 121 In Saxaphone Park (1983) Pencil on paper 48 X 59.8 IR£250

L 122 Waterfall (1983) Pencil on paper

B 123 Part of the Action (1983) Pencil on paper 60 X 48 IR£250

B 124 Under the Viaduct (1983) Pencil on paper 63 X 49 IR£250

60 X 42.7 IR£250

Joanna Tracey Born in Nottingham in 1957. Studied at Mansfield College of Art and at Maidstone School of Art. Currently working in Florida.

L 125 Life Drawing Pencil on paper 23.5 X 16.5 IR£50

L 126 Tent Fabric and documentation IR£250

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a 127 Landscape Pencil on paper 64.5 X 92 IR£70

a 128 Toad Book Pencil on paper 23.5 X 16.5 IR£30

Benedict Tutty Born in Wicklow in 1924. Studied in Belgium, France and Germany. Currently working in County Limerick; lecturer in School of Art and Design, Limerick.

8 129 Bandaged Head (1980) Ceramic Fireclay 24 X 20 X19 N.F.S.

8 131 Black Orpheus (1980) Ceramic Fireclay 18 X 20 X 16 IR£120

L 130 Black Bandaged Head (1980) Ceramic Fireclay 24 X 24 X20 IR£120

L 132 Singing Head (1980) Ceramic Fireclay 19 X 24 X 16 IR£120

List of Exhibitors John Aiken 11 Gladw ell Road Hornsey London N8 9AA Deborah Brown c/o The David Hendriks Gallery 119 St. Stephen's Green Dublin 2 James Buckley The Farmhouse Lotamore Mayfield Cork Anne Carlisle 87 Wellesley Avenu e Li sburn Road Belfast 960 U Michael Coleman A - 1010Wien Rosenga sse 8 Austria Barrie Cooke c/o The David Hendriks Gallery 119 St. Stephen's Green Dublin 2

Miriam Flanagan 'Derrynane' 38 Rochestown Avenue Dun Laoghaire Co. Dublin

Don Mac Gabhann Sean路 Baile Ospideal Co. Luimnigh

lanA. A. Sutherland Ray House Rathmullan Co. Donegal

Danny M cCarthy c/o Triskel Arts Centre 5 Bridge Street Cork

DonaldTeakey River sdale Cottage Low erChurchtow n Road Dublin 14

Alan Green c/o Oliver Dowling Gallery 19 Kildare Street Dublin 2

Simon Moiler c/o Duggan's Larkins Cross Corbally Limerick

Joanna Tracey 1 132 Placetas Avenue Coral Gables Florida 33143 USA

Pat Harris c/o Taylor Galleries 6 Dawson Street Dublin 2

PauiMosse c/o Taylor Galleries 6 Dawson Street Dublin 2

Benedict Tutty, O .S.B. Glenstal Abbey Murroe Co. Limerick

Graham Patrick Gingles 2 Coastguard Cottages Ballygalley Co. Antrim

Willie Heron 113 Frances Street Newtownards Co. Down

Anthony O'Carroll c/o The David Hendriks Gallery 119 St. Stephen's Green Dublin 2

Roy Johnston 1 Marlborough Park, Central Belfast BT9 6HN

Ellis O'Connell 38 Benvoi ri ch Bishopstown Cork

Jack Donovan Torie Lodge Croom Co. Limerick

Brenda Kelliher DamerHouse Roscrea Co. Tipperary

Michael O'Neill 67 College Green Maynooth Co. Kildare

FelimEgan c/o Oliver Dowling Gallery 19 Kildare Street Dublin 2

Breda Kennedy 22 Rockbarton Park Salthill Co. Galway

Joel Fisher c/o Oliver Dowling Gallery 19 Kildare Street Dublin 2

Slobhan Piercy c/o Department of Art and Design Galway Regional Technical College Dublin Road Galway

Joe lee 9 Clinches Court North Strand Dublin 3

Tom Fitzgerald Ardlea Knockbrack East Lisnagry Co. Limerick

David Leverett c/o Oliver Dowling Gallery 19 Kildare Street Dublin 2

Mike Fitzpatrick Clonmoney Newmarket-on-Fergus Co. Clare

Robert MacDonald c/o Triskel Arts Centre 5 Bridge Street Cork

AlanRobb C/o Duncan of Jordanstone College of Art Perth Road Dundee DD1 4HP Scotland Ben Stack c/o Ballyrogan Art Centre Ballyrogan House Redcross Co. Wicklow

Purchase of works in Exhibition No work can be marked as sold unless a deposit as part of the catalogue price is paid. If any purchaser who has paid a deposit on a work, has not completed the contract by paying the full catalogue price of the work on or before 31 January 1984, the contract will be nu II and void and the deposit forfeited. Cheques should be crossed and made payable to the Limerick Exhibition of Visual Art. Purchasers are advised to note that possession of works will not be possible until the Exhibition has finished its run. Persons wishing to purchase works are requested to communicate with a member ofthe Committee or the Exhibitions' Attendant.

Acknowledgments The Committee gratefully acknowledge the assistance of : The Arts Council/An Comhairle Ealaion The Arts Council of Northern Ireland . The Art Gallery Advisory Committee, Limerick. Co-operation North Guinness Peat Aviation Ltd. Regional M anagement Centre, NIH E. Project Arts Centre, Dublin. Limerick Corporation. Marian Fitzgibbon, Regional Arts Officer. M echanics Institute, Limerick. Thomond College, Limerick. M ary Nagle Design Peter Cutti ng Photography Dan Ryan Truck Rentals Transport Lacey, Droog, O'Donovan, Boland Auditors David Allen Advertising Billboards R.T.E. Advertising Elsevier Scientific Publishers Ireland Limited. Reception

The utmost care has been taken in the compilation of this catalogue, but the Committee does not hold itself responsible for any errors.

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AP 1 l'_,r. _,S E RGING TISTS

GPA AWARDS FOR EMERGING ARTISTS 1983 EXHIBITION

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THE VENUE: THE GRANARY, LIMERICK. T HE DATES: OCTOBER 14-28. THE HOURS: ll.OOam-S.OOpm

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