FAMILY LINES is a multi-platform project by artist Alice Rekab in collaboration with Éireann and I: A community archive for Black migrants in Ireland, and with contributions from Holly Graham, Salma Caller, Larry Achiampong, and Cypher Billboard, London. FAMILY LINES explores experiences of migration and survival within the family unit, and focuses on Black and Mixed-Race […]
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.
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