TIME AND THE OTHER
Debbie Godsell and Susan Montgomery, Doswell Gallery, West Square, Rosscarberry, Co Cork, Until April 21st doswellgallery.com
Two bodies of work addressing ideas about self and landscape. Debbie's Godsell uses print and lens based imagery to consider the expression of our "true nature." Susan Montgomery uses oil paint on linen and board in abstract and constructed landscapes. Found objects – ceramic horses, a tea cosy – frame the artworks.
DIAMONDS AND RUST
Dave West, The Doorway Gallery, 24 South Frederick St, Dublin, Until April 25th thedoorwaygallery.com
Dave West's plein air paintings explore atmospheric locations, ". . . a long-abandoned pier on a windy grey October morning . . .", often along the northeast coast, and his still lives feature everyday objects such as "pieces of beach glass, some of them recently smashed against the rocks after a raucous late night beach part."
CROSSING THE SALT
Gabhann Dunne, Farmleigh Gallery, Farmleigh, Castleknock, Dublin, Until May 27th farmleigh.ie/molesworthgallery.com
An installation of more than 100 painted panels by Gabhann Dunne, each a migrant bird, including the corncrake, once a regular visitor along the Shannon in summer, now almost extinct. An invitation to reflect on migration, change and the current threats to human and non-human populations and the natural environment.
THE OYSTER MAKES THE PEARL
Sonia Shiel, Kevin Kavanagh Gallery, Chancery Lane, Dublin, Until May 4th kevinkavanagh.ie
Sonia Shiel's bravura works have encompassed painted installations, audio, performance and video, involving "methodologies from art, law and theatre." The paintings that make up The Oyster Makes the Pearl are a playfully anthropomorphic disassembly of landscape images, with errant reflections, wandering horizons and abstract marks becoming conscious actors.
A VISIBILITY MATRIX
Sven Anderson and Gerard Byrne, Void, Patrick St, Derry, April 16th-June 8th derryvoid.com
In their monumental evolving installation (this will be its fourth iteration), with contributions from a host of collaborators, Anderson and Byrne have made something like a portrait of the internet and digital imaging platforms, a framework of pervasive visibility, but with reference to the early days of the information superhighway, when its pioneers nurtured idealistic, egalitarian political hopes.
