The American Irish Historical Society (AIHS) New York and Oliver Sears Galley, Dublin, Ireland are pleased to announce the forthcoming exhibition, Radharc - Contemporary Irish Painting, which previews on Friday 4 May 2012 at the Society’s headquarters at 991, 5th Avenue, across from the Metroplitian Museum of Art.
The title of the exhibition, ‘Radharc’, is the gaelic word for view or outlook and this show offers a true reflection of contemporary Irish painting, featuring the work of 6 painters who live and work on the island of Ireland. Each has, through their career to date, realised an exceptional body of work and while they have all exhibited widely in Europe, they are mostly unknown in America. This exhibition now offers New York audiences the opportunity to view their painterly skills and appreciate how each brings their sensibilities and concerns, their own perspective and, most importantly, a sense of place to their work.
The exhibition will feature Hughie O’Donoghue (Mayo), Colin Davidson (Belfast), Stephen Lawlor (Dublin), Katherine Boucher Beug (Cork), Donald Teskey (Limerick) andd Keith Wilson (Belfast). All are established, multi award winning, mid-career artists whose primary medium is paint. From abstraction and portraiture to classical landscape painting, the inescapable influence of climate, geography and history has made an indelible mark on each artist. Hughie O’Donoghue’s primary concern is memory and how we interpret the history we inherit. Colin Davidson recently turned to large scale portraiture after a long period of painting urban landscapes. Stephen Lawlor is a master printmaker who started painting landscape twelve years ago and has also recently begun a sequence of intimate portraits. Katherine Boucher Beug often introduces found elements into her canvases that focus on the search for rhythm through abstracted forms. Donald Teskey is the essential Irish land and seascape artist who portrays the physical drama of the material elements while Keith Wilson draws much influence from impressionism in his handling of paint in his sublime landscape which is almost always populated by trees.