Till the cows come home
Till the cow come home 60x60cm oil on canvas – private collection
Another painting from 2012 and one of my favourites. I very rarely keep paintings but I had the foresight to hold onto this one and I have never tired of it, that has to say something.
I’ve been busy working on my workshops content. It takes a time and stuck in my office I can start to fade so I’ve been taking myself off to somewhere nice for coffee and brainstorming and planning the old fashioned way. With pen and paper, mind maps and scribbles. Then with that done I work on researching before putting it back together. I’m learning bucket loads as I go so teaching the workshops will just be the icing on the cake for me.
I talk a lot about feeding our creativity in my workshops. Today I’m doing just that at…
Trove at IMMA
(l-r) Fossil shark tooth Carcharodon megalodon, USA Natural History Collection © National Museum of Ireland and John Comerford Robert Emmet (1778-1803), c.1803. Watercolour on ivory in a silver-gilt pendant. 6.5 x 5.7 cm. Presented, 1969 National Gallery of Ireland Collection ©National Gallery of Ireland
“The idea of Trove is to make new relationships between painting and object from collections that would rarely meet.” – Dorothy Cross
IMMA has invited internationally renowned artist Dorothy Cross to select an exhibition of work from the Collections of IMMA, Crawford Art Gallery, National Gallery of Ireland and the National Museum of Ireland. The resulting exhibition; Trove, will showcase the extraordinary depth of the National Collections in one unique and very subjective presentation.
Andrew Scott in Sea Wall at the Project
Raging I couldn’t get tickets for tonight. But look what I found online! It’s a post production run through of the the performance. It’s a 30 minute performance of this usual play.
Scott plays Alex, a photographer on a French seaside holiday with his wife, his daughter, and his father-in-law. A catastrophic accident occurs and Alex’s blissful life falls apart.
Originally commissioned for minimalist staging by the Bush Theatre at a time when that venue’s building was damaged, these parameters are observed in this presentation too. The stage and audience are brightly lit under work lights, with no set and only a bottle of water as a prop. There is just the performer’s talent, and the script. That is all.
Scott has the actor’s magic, and hits all the emotional intensities of the story with vulnerability and precision.