Gibbons & Nicholas


Dublin

Ireland

Phone : +353 86 8127161

Fax :

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URL : www.gibbonsnicholas.com

About

Gibbons & Nicholas was founded in Dublin, Ireland in 2016 to promote the best of contemporary Irish art through a programme of international exhibitions and art fairs.

Our current model operates outside the confines of a traditional gallery space, this allows the artists to connect with international buyers, galleries and curators and encourages significant cross-cultural exchange.

Gallery artists have been included in many important exhibitions and have been recognised with numerous awards, including a Fulbright Scholarship, a John Simon Guggenheim Foundation Fellowship, a MacArthur Foundation Grant, a Pollack Krasner Award and membership of Aosdána, the cultural body that recognises major, sustained contribution to the arts in Ireland.

Gibbons & Nicholas has participated at art fairs and exhibitions in New York, Miami, London and Dublin.


Adestes Fidel-ish  - Marty Kelly

Marty Kelly Adestes Fidel-ish
Marty Kelly's current work is being made in response to media coverage of events and as a result of periods spent working with asylum seekers and refugees in the UK and in Calais. He explores issues of unity and separatism and how we identify with each other through compassion, love, gratitude, acceptance, pity and fear.
Kelly’s work relates closely to a sense of place and displacement. Recent work deals with human interaction and human fallout in war zones, a subject with which he has an uneasy familiarity. These were executed during his years living away from home, during which time he felt an acute sense of exile from the familiar. His identification with the emotional impact of events in troubled lands were further heightened by his own sense of loss and also by a familiarization with conflict during his earlier life.

N/A - Anita Groener

Anita Groener N/A

N/A - Anita Groener

Anita Groener N/A

 Installation at The American Academy of Arts and Letters (2017) - Helen O'Leary

Helen O'Leary Installation at The American Academy of Arts and Letters (2017)

Citizen installation, 2016, dimensions variable, paper and twigs - Anita Groener

Anita Groener Citizen installation, 2016, dimensions variable, paper and twigs
The work presented here is part of an ongoing project by artist Anita Groener called Citizen and addresses one of the most pressing issues of our time—the refugee crisis—and our response to it. Orchestrating site-specific installations, video projections, and drawings, Groener draws attention and compassion to the plight of displaced people. Focusing on specific current events, their archetypal and psychological resonances, Groener traces urgent connections between the experience of Syrians driven from their homes by armed conflict and her own life and family. Citizen, counters what the artist sees as an emerging collective alienation by encouraging the viewer to walk in the footsteps of a multitude of anonymous people on the move, without a country and without a home. It incites an imaginative journey between present and past, between here—the geographical, social, and cultural locations of the spectator—and there—the site of the represented trauma.
While each one of Groener’s figures is unique and based on a specific individual in one of the thousands of photographs of displaced people she compiled during her research, as a host of silhouettes they become universal and timeless symbols that suggest the enduring magnitude of the phenomenon. The deliberately modest means of Groener’s installations and line drawings—twigs, cut paper, straight pins, gouache—speak to the fragility of life and society that refugee crises expose. Her art implicates herself and us, asking questions about the ethics of witnessing and aesthetic response.

Cesura  - David Quinn

David Quinn Cesura

My Minds i - Janet Mullarney

Janet Mullarney My Minds i
Janet Mullarney: My Minds i
Throwing shapes or quietly siting, twirling in the limelight
or dancing with the imagination, Janet Mullarney’s troupe of
beguiling inventions act out a radiant new drama on what it
is to be alive, to think, feel and to make art. Though standing
still, the show goes on for ever, or as far as we can go with it,
into her great themes of strength, vulnerability, strangeness,
surprise and memory - open to all, ours and hers. It’s
exuberantly visual – that is, rich in meaning: Allusive, bountiful,
teasing, without dropping into easy reach, layered, without
false complexity. Ideas and creative connections tumble
through the work, enticing but elusive as a rainbow, rewarding
to the newcomer as much as to the long-time admirer. To
freeze moments from the flow may be to hobble their grace,
but her work has always been forgiving of the imperfect, a
champion of the flawed.
Centre-stage of the show is a wide lightbox platform,
illuminating a large group of diverse figures or objects (one
or two are both). It is at once an ofeat plinth, a disco floor,
a theatre set underlighting a cast of fantastical players,
a catwalk or an imaginary arena. Its glow sofly lights the
room, a converted church, made smaller in the dimness.
Standing before it, we grow aware of disparities of scale;
ours, the litle figures; their stage, ours. We are players too.
Momentarily arranged, they are performers, but so are we.
They seem delicate under our giant’s gaze. Their scale is that
of playthings. Were we playthings of the God who once lived
here? Who might that God be now?
Power, control, freedom: In her work Janet Mullarney has
not been intimidated by the essential human dilemmas, but
driven by their charge, and distinct in engaging with them
so directly, and expressively. If she has in part warred with
the forces ranged to tame the imagination - church, family,
convention, fashions in art - it has armed her to find her
own authority as a maker, inventor and a voice, one that now
seems even more empowered. From sculptures to seting this
exhibition magically unmoors our given sense of boundaries
and of scale, of objects in space, of hierarchies, of ourselves.
Big becomes small, the fragile grows powerful, the controlled
is liberated - and it works equally in reverse. Our perspective
veers from adult to child, knowing to not knowing. Stability
was never a concern for an artist who sought what she called
‘contained disequilibrium’ a viewpoint focussed but not fixed.
My Minds i; though sensitive to ambiguity and the un-nameable,
Janet’s titles are as telling and generous as her work is visceral,
concrete, emotional. In progressing she does not discard the
past. Alongside her last big exhibition, at the RHA in 2010,
was a short filmed interview ending with her expressed faith
that ‘what you have in your mind’s eye will come out – and it’s
wonderful’. That idea introduces this new work,

Exhibiting Artists

  • Peter Burns  (+)

    Biography : Peter Burns paintings are playful re-workings of myths, Biblical stories, art historical, literary and musical themes. In the paintings people are shown in relation to nature and the universe. Small figures of people and animals exist and roam in a painted world.  A variety of techniques are used to enliven the surfaces of the paintings. Chunks of old dried paint from the palette are attached to the canvas in places, while on other parts of the canvas paint is scraped off revealing underlying layers. Exoticism flavors the work with allusions to faraway places, to Japanese art and Russian literature. Infinity is suggested in the sky, in the stars and the planets. They are colorful paintings with a sense of humor. They are daring and experimental, each one a self contained world. Burns earned his BA in Sculpture and MFA in Painting from The National College of Art & Design, Dublin & exhibited in Futures Anthology at The Royal Hibernian Academy, Dublin in November 2015. He participated in Introspective, an exhibition of self portraits at BravinLee Programs, NY, (2016) and showed a selection of works on paper with Exhibition A, NY, (2016) to coincide with the release of his limited edition print. Past solo exhibitions were held at Fenderesky Gallery Belfast, Hillsboro Fine Art Dublin and Claremorris Gallery. Selected group exhibitions include Last, Douglas Hyde Gallery, Trinity College, Dublin; Making Familiar, Temple Bar Gallery and Futures, RHA Gallery. Forthcoming exhibitions include Fables of the Reconstruction, at David & Schweitzer Contemporary, NY, 12th May – 4th June 2017. Burns has been featured in Wall Street International Magazine, The Sunday Times and ArtForum among others. He is a recent recipient of the Pollock Krasner Foundation Grant.

    Also exhibited by:

    Also represented by:

  • Anita Groener  (+)

    Biography : Anita Groener is a Dutch born artist based in Dublin, Ireland. Her work, like her life, is grounded in a transcultural perspective. Notions of home and displacement within modern geopolitical realities drive the enquiry directed through drawing. Of particular interest is how this becomes manifest through temporality and in a relationship with place. Her practice comprises large scale installations, drawings and film that she exhibits internationally. Her most recent large-scale commission is at Facebook’s EMEA Headquarters in Dublin, Ireland. Exhibitions include Citizen at Butler Gallery Kilkenny, Ireland; Poggiali & Forconi Gallery, Florence, Italy; Point B, Williamsburg NYC, US; Second Drawing festival and Amsterdam Drawing Art Fair with Witteveen Visual Arts Centre Amsterdam, The Netherlands; I Am Always Touched By Your Presence Dear, Irish Museum of Modern Art Dublin; Into Irish Drawing | Centre Culturel Irlandais, Paris, France and Land at Rubicon Gallery Dublin as part of Dublin Contemporary programme. Groener’s work is included in the collections of The Irish Museum of Modern Art, The Arts Council Ireland, State Art Collection Ireland OPW, VU University Medical Centre Amsterdam, Irish Contemporary Arts Society, AIB Bank, ABN-AMRO Bank, The National Drawing Archive and many private international collections. The artist is a member of Aosdána, the Irish affiliation that recognises outstanding contributions to Irish culture.

    Artist's Objects:

    • Anita Groener - Citizen installation, 2016, dimensions variable, paper and twigs Citizen installation, 2016, dimensions variable, paper and twigs
    • Anita Groener - N/A N/A
    • Anita Groener - N/A N/A

    Also exhibited by:

    Also represented by:

  • Helen O'Leary  (+)

    Biography : O’Leary’s work draws on her Irish background and explores with deftness, rigor and craft, the idea of origin, of how everything we subsequently become has been framed by the visual, cultural, moral and emotional lines of definition that are drawn around our formative childhood worlds. Helen O’Leary is a graduate of the National College of Art and Design in Dublin, the Art Institute of Chicago and the Skowhegan School of Painting and Sculpture. She is currently a Professor of Art at Penn State University. O’Leary has exhibited widely around the world: the Butler Gallery in Kilkenny, Ireland; the Coleman Burke Gallery in New York, the Victorian College of the Arts in Melbourne, Australia; Kerlin Gallery, Dublin; Zolla Lieberman Gallery, Chicago; Stad an Zee Museum, Belgium; Glasgow Museum of Art, Scotland; and the Sanskriti Foundation in New Delhi, India are among the many venues to have mounted solo exhibitions of her work. Her art has been honoured with two Pollock-Krasner awards and a Joan Mitchell Award for painting and sculpture. In 2010, Helen was the recipient of a Guggenheim Fellowship.

    Artist's Objects:

    • Helen O'Leary -  Installation at The American Academy of Arts and Letters (2017) Installation at The American Academy of Arts and Letters (2017)

    Also exhibited by:

    Also represented by:

Other Represented Artists

  • Claudia Alvarez

    Biography : Painter and sculptor Claudia Alvarez focuses much of her work on investigating themes of childhood. “I’m influenced by the characteristics and innocence of children. Through my art practice I explore emotions and actions related to human conduct, ethics, culture and belief systems, creating images as if they were questions posed by a child, simply yet poignantly at complex issues in the world today. A child’s viewpoint is innocent of cultural conventions. Their eyes and comments reveal to us just how corrupt mechanisms are.” Claudia Alvarez was born in Monterrey, Mexico. At the age of three, she immigrated with her family to the United States. She spent most of her life in California until 2005 when she was awarded a residency at the Bemis Center for Contemporary Arts in Omaha, Nebraska. Her time is now divided between Omaha and New York City. She received her BA from the University of California, Davis and her MFA from California College of Arts in San Francisco, California. Her work has been exhibited in the United States, Europe, and Mexico.

  • Mark Cullen  (+)

    Biography : Mark Cullen was born in Dublin in 1972. Cullen works with various media. He was artist in residence in the School of Physics, University College Dublin in 2013 – 2014 and exhibited Mandala: As within so without, in the O'Brien Science Centre, UCD in November 2014 – June 2015. He is the co-editor of Artist-Run Europe Practice/Projects/Spaces a substantial publication due to be published in June, 2016 on artist run practice throughout Europe. Recent group shows include: Welcome Disturbances, The Lab, Dublin, (cat), Cosmic Dust, Visual, Carlow, Lacuna 3, Taylor Galleries, Dublin and XL Group Exhibition, Dublin (cat) in 2014 Works include ARK, Dublin Contemporary, MAIM XI for Irish Museum Modern Art, Temporary Portable Reservoirs at Dublin City Gallery The Hugh Lane and Siege House, London, Cosmic Annihilator, an installation at Pallas Heights and Open EV+A (curated by Dan Cameron) Limerick City Gallery. Works in 2010 – 2014 include MAD Art Fair Madrid, curated by Jim Ricks, Carpet, Difference Engine: Accumulator II, Oriel Myrrdin Gallery, Wales, Probe, Difference Engine: Accumulator, West Cork Arts Centre, Ark: I could sleep for a thousand years, Dublin Contemporary, Ladies and Gentlemen we are floating in space, Triskel, Cork, Temporary Portable Reservoirs, Dorm, Model, Sligo, and Difference Engine, Substation, CSV Cultural Centre, New York, Wexford Arts Centre, The Black Mariah, Cork & SOMA, Waterford. He has several works in the Collection of the Office of Public Works including Dunsink Observatory, and is also included in the Chamber of Commerce Collection in the City of Hefei, China. Since 2009 he is a member of Difference Engine - a self determined art group which instigates an evolving exhibition methodology, a model of self organisation, with artists Wendy Judge, Gillian Lawler & Jessica Foley, featuring Gordon Cheung, Paul Green and other collaborators. In 2005 he completed a Masters in Visual Arts Practices at DLIADT and was an award winner

    Detailed Description : Statement My work explores cosmology. I am particularly interested in how the western scientific paradigm comes to terms with its own uncertainty as it confronts the horizon of perception and thought that exists in complement to it in traditions outside the western canon and in dealing with its own consciousness.

  • Gabhann Dunne  (+)

    Exhibition : Gabhann holds a BA (Hons) in Fine Art (DIT) and a Masters of Fine Art (MFA) from the National College of Ireland Dublin. He is a former winner of the RDS Taylor Art Award and the Hennessy Craig Scholarship at the Royal Hibernian Academy. He was described by Cristín Leach - writing in The Sunday Times in May, 2015 - as ‘one of the best Irish painters of his generation’.

    Detailed Description : The work deals with the space within which rational language has failed and meaning is found in emotional contemplation. This is what Philip Guston described as ‘the third hand’. Positive psychology refers to it as autolectic flow where through the action of painting, the poles of reality and imagination can be reflected upon. And the metaphysical spectre of meaning overcome in an exchange for a movement away from limitations of human concerns towards a greater inhuman realm of existence that can be had in the observation of animals, environment and landscape. Placing ourselves not as separate to these but as participants and subjects of change. Informing the practice is a widespread of literature, social commentators and ecologists such as John Gray, Mark Rowlands and Emma Marris. Painting is not used analytically but to interrogate how different forms or techniques can be used with each other to create tension, power and the sacred. Beauty can be used as a substitute for a sense of rightness - an awkward stroke for the unknowable. A forest becomes soft almost edible or figures obscured behind a film of rich glazes. Imagery leaks from the canvas onto walls and floors, anchoring the work in the space of its showing, a loop of flowers, a small pillow to break the fall of a painted animal. While the subject of the work may seem overly dark and nihilistic there is humour here, compassion, apology and a desire to protect.

  • Marty Kelly  (+)

    Biography : Marty Kelly has exhibited extensively in Ireland and internationally since graduation from University of Ulster, Belfast in 2000. Past solo exhibitions include Whitespace, the Mordes Collection, Florida; BlueLeaf Gallery, Dublin; Art London; Estudio Nomada, Barcelona and Townhouse Gallery, Belfast. Group Exhibitions include Gordon Gallery, Derry; J Cacciola Gallery, NYC; Art Toronto; Fabriktheatre Moabit, Berlin; “Wildly Different Things: New York and Dublin”, BlueLeaf Unlimited; Estudio Nomada, Barcelona; BlueLeaf Gallery, Dublin; Menier Gallery, London; 3 Bedfordbury Gallery, London; Art Miami; Art Chicago; Edinburgh Art Fair; The Glebe Gallery, Donegal; John Martin Gallery, London; Royal Dublin Society; Royal Ulster Academy of Arts, Belfast; Art Holland; IONTAS, Sligo Art Gallery; Beaux Arts, Bath, UK; London Art Fair; Townhouse Gallery, Belfast; Cavehill Gallery, Belfast; Woolff Gallery, London; Art Select, Dublin; Arts Society of Ulster, Queens University, Belfast; Steading Gallery, Kirkcudbright, Scotland. Kelly’s work is part of collections including Department of Environment, Northern Ireland; Bank of Ireland, Dublin; Mandate Trade Union, Dublin; Collection of the Dept of Finance, Northern Ireland; Wedgewood Inc, Los Angeles and is held in private collections worldwide.

    Artist's Objects:

    • Marty Kelly - Adestes Fidel-ish Adestes Fidel-ish

  • Sean Molloy

    Biography : Sean Molloy’s key concern as a painter is to investigate the relevance of painting in a digitally-mediated world. This body of work has been constructed by a process of experimentation with a series of traditional baroque-inspired themes, spliced together with over-painted elements associated with digital-based imagery. The traditional elements have been appropriated from sources within the Dutch, Spanish, Flemish and Italian baroque painting canon, combined and juxtaposed to create a series of miniature tondo portraits and capriccio-type fantasy landscapes. The digital-inspired elements overlaying the traditional subject matter reference a variety of sources (C.G.I., games, image manipulation software, glitch-art, etc.). 'Pentimenti' refers to the underlying drawing, the choices and corrections that the artist makes while developing the composition, correcting areas by painting over them, discovered years sometimes centuries later revealing themselves to the modern viewer by the fading top layer of paint, 'Pentimenti' can also reveal when the painter's original work has been corrected, often in response to socio-political, moral or fashion imperatives – or simply through complacent restoration. Thus the 'definitive' (often canonical) work reveals itself as something which is not a solid given, but the outcome of a fluid, changing dynamic. In today's world, there is also a certain impermanence to digital images – we can alter and manipulate them as often as we wish which gives them a certain malleable quality. Sean Molloy received a 1st class BA honours in painting (NCAD, 2011), followed by his MFA (NCAD, 2013). His degree show featured in the Irish Arts Review as one of the top Irish fine art graduates of 2011. In 2013 Sean was longlisted for the Saatchi New Sensation prize the sole Irish nominee. In Dec 2015, his debut solo exhibition was held at the RHA Ashford Gallery, Dublin.He is currently artist-in-residence at Cloverhill Prison as part of the Arts C

  • Kevin Mooney

    Biography : Kevin Mooney is an Irish artist based in Dublin. Re-imagining Irish art history, an interest in Irish culture and folklore, and historical research into cultural migration- these are the key factors which inform his practice. His own family background of migration, and his early experiences as a UK born Irish person growing up in Ireland, have been crucial in developing his work. Through working on a long series of interrelated paintings over an extended period of time, the work evolves like a slowly unfolding folklore. The sources and motifs of his work continue to be adapted, developed and intertwined to create a rich and darkly humorous world of history, imagination and myth. Kevin graduated from the Masters in Fine Art, NCAD in 2012. Solo shows include Ormston House, Limerick, 2016 (forthcoming, part of the "Depot" series) “Wave”, Pallas Projects, Dublin 2014, “Dog Island Tales”, Talbot Gallery, Dublin 2014, Nag Gallery, Dublin 2010, “Timeline” Queen Street Gallery, Belfast, 2010 and “Facade”, Mermaid Arts Centre, Bray, Co. Wicklow, 2009. Selected group exhibitions include "What Is and What Might Be", Highlanes Gallery, Drogheda, 2015, “Making Familiar”, Temple Bar Gallery, Dublin, 2012, “Horizon Sprawl”, Ormston House, Limerick 2012, and “Video Killed the Radio Star”, Royal Hibernian Academy, Dublin 2010. He received a Visual Artists Bursary from the Arts Council of Ireland in both 2012 and 2013. In 2013 he was shortlisted for the Thames and Hudson publication “100 Painters of Tomorrow”. In 2015 he was also shortlisted for Wexford Arts Centre's Emerging Artist Award.

  • Janet Mullarney  (+)

    Biography : Born in Dublin, Ireland sculptor Janet Mullarney lives and works between Italy and Ireland. “Her sculptures are a little like Angela Carter’s novels, where the everyday and the ordinary can suddenly plummet into the surreal and the mythic. Tables and stairs, trolleys and mattresses are the props that carry extraordinary characters. Subjects mined from the natural world and anthropo-morphized to play out human joy and human tragedy.” Patrick T.Murphy. She has exhibited extensively in both Ireland and abroad and has held solo exhibitions at venues including Dublin City Gallery The Hugh Lane; the Royal Hibernian Academy; Crawford Municipal Gallery; Limerick City Gallery; Museo de Arte Contemporanea, Oaxaca, Mexico; Casa Masaccio Arte Contemporanea, San Giovanni Valdarno; Group exhibitions include “Views from an Island” Irish Contemporary Art from the Collection of the Irish Museum of Modern Art, Millennium Art Museum, Beijing and Shanghai Art Museum; Palazzo delle Papesse, Siena; Palazzo Mediceo di Seravezza, Italy. Mullarney’s sculpture is part of the collections of Arts Council, Irish Museum of Modern Art, (IMMA); Dublin City Gallery The Hugh Lane; Limerick City Gallery of Art; Office of Public Work and Allied Irish Banks. Work in public workspaces that can be singled out would be Gröningen, Waagstraat Project, (architect Adolfo Natalini), Holland; Royal Victoria Hospitals, Belfast; St.Ultans, Cherry Orchard Primary School, (architects O’Donnell+Tuomey) ,Ballyfermot, Dublin. She has been awarded with the RUA Perpetual Silver Medal, Prize 2009; The RHA Sculpture Award 2008; Irish American Cultural Institute’s O’Malley Award 2005; The Pollock Krasner Award 1998. Dept.of Foreign Affairs 2008 Awards 2003/2001/2000/1991/1989. Janet Mullarney is a member of Aosdana (The Irish Arts Council established Aosdána in 1981 to honour artists whose work has made an outstanding contribution to the creative arts in Ireland). She is represented by the Taylor G

    Artist's Objects:

    • Janet Mullarney - My Minds i My Minds i

  • Suzy O'Mullane

    Biography : Suzy O’ Mullane has been practicing and exhibiting consistently in Dublin, London, NY, Berlin and LA since 1996. She is former co-founder and director for 6 years of ArtTrail Cork, which ran from 1996 to 2012. Notably, her work has been presented at Art Miami from 2010 to 2013, Art Toronto from 2010 to 2012, and also Art Chicago, Art Wynwood and Art Palm Beach. She has held solo exhibitions at the Crawford Municipal Gallery, Triskel Arts Centre, Solstice Arts Centre, Siamsa Tire Arts Centre, Blueleaf Gallery, and Origin Gallery. Her work is represented in many public and private collections in the US and Europe, including Crawford Municipal Gallery, TCD, UCC, and OPW. In 2016 and 2017 she has been invited to exhibit in Beijing, Shanghai and Melbourne. O’ Mullane’s work conceptualises emotional experience and memory through the mediums of painting, drawing, video, performance and writings. Each body of work relates to specific events centring around a particular identity, place, memory, personal connections. Formally, her paintings and drawings are executed in oil and charcoal on canvas or paper. Scale oscillates between very large (maximum 7ft x 10ft) and small/intimate. More recent video and performance work supports and intersects with the 2D work, and relies on written narrative and layers of associated imagery.

  • David Quinn  (+)

    Biography : David Quinn lives and works in Dublin, Ireland. Solo exhibitions include seam (2015), dunkelbunt (2014) and pewter (2012) in the Taylor Galleries, Dublin and d-esque (2012) in the Fenderesky Gallery, Belfast. Group shows include Éigse 30 year Retrospective (2013), Proper Nouns and Adjectives, Fenderesky Gallery, Belfast and Marathon Irish, Dialogue, London (2012). He received the Tony O’Malley Studio Residency Award in 2015. Public collections include Bank of Ireland, Electric Ireland, OPW / State Art Collection, Eaton Corporation and the Morrison Hotel, Dublin. He is represented by the Taylor Galleries,Dublin

    Detailed Description : David Quinn sees painting as a type of silent poetry and his own small pieces as visual haikus. In spirit they are related to the intimism of Bonnard and Vuillard (an art described by André Gide as "speaking in a low tone, suitable to confidences") and the pure expressionism of the New York School of abstractionists. They are also partly inspired the patina of Dublin's inner-city, old paperback books, musical notation and the Japanese aesthetic of wabi-sabi amongst other things.

    Artist's Objects:

    • David Quinn - Cesura Cesura