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EXHIBITION CALENDAR 2014 We invite you to come to the exhibition openings to meet the artist and enjoy light refreshments. All are welcome, please bring along a friend.






Bad flowers, glass birds and other ideas


Hiberniod - selected works

11th August - 30th August

4th September - 27th September

2nd October - 1st November

6th November - 29th November

JONATHAN HUNTER 6th - 29th March MARIE FOLEY 3rd - 26th April


GALLERY 4 Castle Street, Sligo

TRUDIE MOONEY 1st - 31st May JAMES McCREARY 5th June - 9th August JANET PIERCE 5th June - 9th August A NATURAL SELECTION FINE ART PRINTS 14th June - 30th August HELEN O’TOOLE 11th - 30th August GRAHAM GINGLES 4th - 27th September STEPHEN LAWLOR 2nd October - 1st November DERMOT SEYMOUR 6th - 29th November SMALL WORKS BY INVITED ARTISTS 11th December - February 2015 The gallery is open to the public from 10am to 5pm Monday to Saturday. Admission is free

FRIENDS OF THE HAMILTON GALLERY To become a Friend of the Hamilton Gallery and/or receive text alerts please register your contact details on our website or email to Cover: Glencar, Stephen Lawlor, Etching, 14cm x 12cm.

Clod, Oil on Canvas, 107cm x 168cm.

Painting has become a vehicle to begin to articulate the memories of growing up in an unforgiving limestone landscape, and the layers of longing and bittersweet histories.

Armida, Oil on Canvas, 38cm x 46cm.

The paintings are built slowly, made in layers, with a similar measure to working the soil, revealing the strata of the bog, negotiating clumsy, crusty limestone fields at a deliberate pace, with the belief that life continues and the work will get done. The nature of my painting is as if reclaiming one of my father’s fields, by stripping it of its limestone heritage, to later cover it with soil, concealing what was, with the optimism of progress and a better future.

Glass Bird lll, Mixed Media, 32cm x 27cm x 15cm.

Although these paintings have their origin in European painting from 1300 onwards, the artist approaches it's influence from a contemporary perspective. Over many years he has explored, dissected and absorbed works by almost all European painters up to the present time and this exhibition is the culmination of many years of intimate engagement with the past.

This exhibition, “Bad flowers, glass birds and other ideas” will include paintings, drawings and constructions. The constructions are usually wall hanging boxes for which I am better known.

He engages with iconic and also not so well known works. They incorporate and fuse memories but more importantly emotions felt at particular moments that are subtle, indirect, accidental and at times un-associated.

The title of the exhibition reflects my concerns and interests at the moment. Of course the “other ideas” is a way of keeping my options open to explore, develop and experiment serendipitous ideas that might occur during the process and the making of the work.

They reflect an intangible quality that fuses the physical and emotional act of painting into a distilled moment that passes through time to represent the essence of the emotional impact of the subjects that inspired them.

Hiberno Head, Oil on Canvas, 120cm x 100cm.

The work is a trip across the forehead of the daft, the absurd, the paradoxical, the sinister and the abandoned.

Tel: 071 9143686 Email:






Unheard Music

Rilke Hymn Boxes + Black Elk Drawings

Be Still, Life

Hurrah for the flowers of spring

Confluence: a merging

6th March - 29th March

3rd April - 26th April

1st May - 31st May

5th June - 9th August

5th June - 9th August


14th June - 30th August

Flowers of Spring, Mezzotint and Aquatint, 13cm x 18cm. Vine Tomatoes, Oil on Canvas, 18cm x 23cm.

I have always tried to convey a sense of tranquillity in my paintings using simple jugs, bowls, stoneware and spongeware of varying shapes and sizes. Through the careful arrangement of objects, draped fabrics a somewhat muted palette, I have sought subtlety and balance.

Unheard Music, Oil on Canvas, 100cm x 80cm.

Rilke Hymn Box 2, Mixed Media, 14cm x 25cm x 9cm.

Rather than reproducing the appearance of a particular place, my intention is to use landscape painting as a medium with which to draw the viewer into a connection with memory.

It is our task to imprint this temporary, perishable earth into ourselves so deeply, so painfully and passionately, that its essence can rise again “invisibly” inside us. We are the bees of the invisible. We wildly collect the honey of the visible, to store it in the great golden hive of the invisible. Rainer Maria Rilke With visible Breath I am walking A voice I am sending as I walk In a Sacred Manner I am walking With visible Tracks I am walking In a Sacred Manner I walk Black Elk

While these aspects are still my primary concern, in the last year I have found myself leaning towards a wider colour range, more detailed designs and patterns and wanting to give a lighter atmosphere to some of the paintings. In others I hope to impart an air of solemnity and quiet acceptance. Above all, I aim for calm, balance and serenity, to be still, life.

From the poem Imitated from the Japanese. (page 309, Augustine Martin’s collected poems of W. B. Yeats)

I’ve always liked the idea that my images have a certain restlessness about them, a stubborn resistance to pigeon-holing and definition. They exist on the shadowy threshold of things – always on the point of emerging from – or else returning to – the darkness that gives them life. It‘s this quality of tentatively approaching definition, of keeping my work open to multiple interpretations, that gives me the greatest satisfaction and simulates, I hope, a powerful imaginative response. Because that’s what I’m after – art with an immediacy that reaches out to its audience, and only really completes itself in their visceral responses to it. That’s the hope.

Goa d, Mixed Media on Handmade Paper, 25cm x 36cm.

Trying to connect Ireland and India has been a major concern in my work, as I have lived in both countries for the last seven years. My concerns are to do with spirituality and landscape. I have collaborated with traditional Irish musicians, in the past, and was delighted to know that Sean O’Rioda, the Irish composer, said that the way to understand both Irish and Indian music was the same - through the heart. Poetry has been a major concern of mine and I have collaborated with the Indian poet Sudeep Sen. Again it was the spirituality and sensuousness in his work that attracted me to work with him Now I turn my attention to the link between Yeats’s poetry and Vedic spirituality. I am seeking harmony through my work and both Yeats and the ancient Vedas sought peace.

100 new Fine Art Prints by 100 artists from all over Ireland, North and South, Europe the US and The Antipodes, this work is presented by the Botanic Fundraising Committee of Graphic Studio Dublin. The artists were asked to consider all aspects of the the National Botanic Gardens such as the 17,000 different species of cultivated forms within the collection. Alternatively they might focus on the renowned architectural features of the Gardens, the Curvilinear Glasshouse and Palm House, or any of the well known landscapes within the walls. This body of work is a unique range of prints, reflecting the diversity of our wonderful National Plant Collection.

Hamilton Gallery 6 panel programme  
Hamilton Gallery 6 panel programme  

6 Panel roll fold programme for Hamilton Gallery Sligo