An Trá Bán - The Great Blasket Island
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The new expressionist style of Liam O’Neill focuses directly on capturing the energetic frenzy of his home West Kerry and its people. Inspiration for his work stems from his native place, its community and the daily happenings and events therein.
Sylvia Parkinson Brown
Native of Northern Ireland, Sylvia moved to County Kilkenny over twenty
five years ago. Her background stems from formal art school training in
London & Lancashire as a sculptor and this has come to influence her approach to two dimensional work.
Gerard’s varied life experiences, his time spent travelling and exploring life, the spontaneity of his works, their boldness, scale and sharp perspectives reveal Byrne’s true natural talent. His is an artist’s eye; something that is inherent, something that cannot be taught.
Kathrine attended the National College of Art and Design . However, she is largely self-taught .Her work is concerned with nature, habitat and the
conservation of wild places. What you see in her paintings is an insect’s-eye
view of the world.
Michael captures and mythologises the West Kerry terrain triumphantly. He paints the untamed Wild Atlantic landscape with vivacity and dramatically charged energy.
Margo captures the totemic animals of her mother’s hillside on the Iveragh Peninsula. There is nothing sentimental about Banks’ ‘beasts of the field’. They shimmer and abound with edgy character: an elemental, mythic presence.
Niall is a draughtsman and drawing is fundamental to the art he makes. He doesn’t try to make definitive views of West Kerry but rather uses the elements of his environment to create his narrative.
Patsy’s influence is the landscape, the sea and the weather. Of her work, she says “Painting is alchemy, from light into pigment, no recipe, no rules and no guarantees. My work is always a visual response to a subject and I revel in the sensuality of paint.”
Aerial views and obscure perspective dominate the work of Tomas O’Ciobhain leaving a haunting impression of the land.
Primitive, naïve art influenced Deborah Donnelly towards a simplification of form. She prefers to capture the fleeting moment rather than meticulous detail.
Denise Hussey’s work reflects the relationship between herself and her environment during different periods of her life. It is about how she feels in the context of her surroundings at a given time.
Vivienne St Clair
Vivienne sees her work as a journey, an exploration of the language of painting.She states that painting is “about what you see and what you feel; it is about capturing the feeling and the atmosphere of the moment”.
Combining classical and impressionist styles, Hugh sketches watercolours in the open field and larger works are finished using oils in the studio.
Liam been recording, in a very personal way, the ever-changing moods and light of the West. His paintings have a wonderful sense of space, a tranquility where nothing is hurried.
Joby Hickey spent the first few years of his life with early memories of the smell of oil paints from his father Patrick Hickey’s studio, and the old Victorian printing press that his father used when printing etchings.
Ben Dearnley is a natural carver of stone, and has been fascinated by Man’s desire to make his mark in stone since his earliest days.
The robust, Celtic inspired work of Hans Blank impresses.
Humour pervades the work of Bob Quinn. The one he’s working on is always his favourite!
After an initial career as a marine biologist, John Coll turned to his passion for making sculpture. His deep interest in our marine environment continues to inspire his works.
For Fidelma Massey the image of the moon speaks of cyclical time-rhythm; the way things change but remain the same.
Elongated women by James McCarthy glide gracefully through space.
Self-taught sculptor Kevin John works with steel, manipulating the often-recycled material into beautiful unique art forms infused with a touch of quirkiness.
Seamus Connolly captures the essence of his subject and brings it from inception through to finished bronze in his own foundry in Clare.
Scott seeks to establish a cohesive three dimensional form, based in the principles of the aesthetic, and wants to be able to view the piece in the round from every angle.
Life, energy and exuberance are the hallmarks of Siobhan’s work as well as an intimate knowledge of anatomy. Siobhan captures her subject in a way that is entirely unique. Her work almost seems like it is about to take off across the land.