Katy Moran’s early paintings look rather like small semi-abstract pictures of the 1960s. As well as using generous gestural paint strokes, which seem oddly typical of those days, she often erases and erodes the surfaces, so the images sometimes appear to have been damaged or worn away by time. Besides, she frequently uses old-fashioned shades of glossy cream as ground colours, while vintage frames – grubby, and tarnished – complete the impression. And yet there is much more to them than that. The paintwork is perhaps a little too self-conscious to be completely credible, and the pictures often carry traces of figuration and recognisable subject matter (Moran frequently works with photographic sources), so it gradually becomes clear that these paintings are more complex than you might suppose.
Culture Ireland and The Arts Council / An Chomhairle Ealaíon present Isabel Nolan’s commission for the Irish Pavilion at the 61st International Art Exhibition — La Biennale di Venezia running until Sunday 22 November 2026.
Acknowledging the crucial role artists play in influencing and shaping other artistic practices, The Artist’s Eye series asks those exhibiting in Gallery 1 to invite an artist of influence to present work in Gallery 2. In this instalment, Edith Karlson has invited artist Olivia Normile.
This winter, The Douglas Hyde is delighted to present Well, well, well, the first solo exhibition in Ireland by Edith Karlson. Her practice has established her as one of the most compelling sculptural voices in Europe today, following her acclaimed presentation representing Estonia at the 60th International Art Exhibition – La Biennale di Venezia in […]
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