Works on canvas by Pennie Elfick, Interventions by George Meyrick, Works on paper by Fiona Robinson

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Fiona Robinson

My work is about journeys and memory; journeys through spaces, through time and through memory. They are rooted in place but often exist only in memory. My father was born in Cork in Ireland in 1913 and one of his earliest memories, probably before 1920, was being taken to Kerry on the back of a cart to a family wake. The journey took three days, some of it on unmade roads, through a landscape that was wild and inhospitable. In 2008 I travelled to Kerry, to take up a residency as part of the Cill Rialaig Project in the Ballinskelligs. The roads are better now but it is still a wild landscape. The restored buildings of Cill Rialaig were once home to the family of Séan Ó’Connail, an illiterate Irish-speaking storyteller who was part of the oral tradition. He never left this peninsular but in retelling the stories brought to him by other travellers he journeyed, in his imagination, further than many people do in reality. A love affair with the Irish Landscape follows a remembered journey from the ruins of an ancient Abbey, sitting perilously close to the encroaching sea, on Ballinkelligs beach, along winding lanes, past Cill Rialaig up to the top of Bolus Head. From this vantage point you can see the Skelligs, two outcrops of rock eight miles out to sea, on one of which is the remains of a sixth century monastery. The monks who lived there then were living on the edge of the known world, looking out over the Atlantic they were staring into the abyss. Each retelling of a story, each repeated journey, each new layer of drawing is different. This work is part of a continuum connecting me to the memories of all those other journeys through these spaces.

George Meyrick

‘Suppose a man born blind, and now adult, and taught by touch to distinguish between a cube and a sphere… Suppose the cube and sphere placed on a table, and the blind man made to see; query, whether by his sight, before he touched them, he could distinguish and tell which is the globe, which the cube?’ Molyneux 1693. The proposals here provoke images in the mind which link with aspects of the other work on show.

Pennie Elfick

These works reflect the time that was spent on the water off the Eastern seaboard of Australia in 2008. They investigate how colour and form can reflect an emotional feeling ‘of place’. The aim is to create work that has a duality, it is an emotional response to something natural but abstract in its pictorial structure. By removing figurative references to the natural world I am able to investigate the poetry that can be created from colour and form in a purely abstract manner. These canvases, by their particular use of colour, create surfaces that sit quietly and yet command attention from the viewer, challenging them to contemplate and reassess what they think they see.

Photography by George Meyrick.

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