Vicky Smith: Portrait with a beer mesh in front of Kylemore Lough, oil and acrylic paint on canvas, 132 x 132cm, 2023  | in the background we see what is presumably Kylemore Lough – we see a lake, hills, sky, trees nearer to us, and nearer than them is a figure facing us mostly hidden by what is presumably a beer mesh; we just see hands shoulders, bit of the face, blond and dark hair; it’s not raining • “The Olivier Cornet Gallery is delighted to present Gairdín Rós | Rose Garden, Vicky Smith's second solo exhibition with us. Painted in the first four years of motherhood, Vicky Smith’s self-portraits explore a sense of self transformed by a time of intense change and adaptation to the needs of an entirely new human being. Until recently, mothers rarely featured as artists in paintings. Over the centuries in Europe, mothers have been portrayed according to the social values of the time, usually by men, shrouding the actual realities of mothers in myth and stereotype. Smith’s…”

Olivier Cornet Gallery, Dublin 1
Vicky Smith: Gairdín Rós: Rose Garden
Closing Sun 12 Apr
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Artwork on wood, roughly square-shaped; a fabric has been glued down on the left – a motif of white, dark-purple and pale-purple flower against a darker background; vigorous brushstrokes then: first a strong red that covers maybe a third of the fabric and a similar amount of the wood; then a reddish-black more or less horizontal stroke vertically across the middle of the painting; then two white-with-yellow strokes on the right, horizontal, fiarly short, partially overlapping the black stroke and a bit of the red

Another from the studio; 40 x 50cm?; mixed media (including fabric) • one thing I am very intrigued by is the contrast between pattern and paint; paint tells a story, pattern … decorates…?
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Image: the words'affective forms', one above the other in funky, white, sans-serif font against a sort o animal-fleece pattern in red and orange • “Luan Gallery is delighted to present Affective Forms, a group exhibition featuring work by Tara Carroll, Sian Costello, Phelim Hoey, Áine O'Hara, Day Magee, and Rajinder Singh. Affective Forms will open to the public on 10 February, with the official launch taking place on Friday 13 February at 6:00 pm. The launch event will feature a guest address by Dr Tina Kinsella, Head of Research at IADT, as well as a performance by exhibiting artist Day Magee. All are welcome to attend. The exhibition will run until 22 April. Affective Forms is a multidisciplinary group exhibition that explores evolving representations of the human body in contemporary Irish art through painting, photography, sculpture, performance, installation, and film. Foregrounding the lived experiences of bodies often marginalised in mainstream visual culture, Affective…”

Luan Gallery, Co. Westmeath
Affective Forms
Closing Sun 12 Apr
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This appears to be a drawing, greyscale, probably pencil, of a bird flying from right to left across the image, close-up with much detail, seen from its left side, and it stares back; what appears to be a small crown of thorns is about to drop onto its head (!) • “Join us on Saturday 11 April at 2:30pm for a special In Conversation event with Annemarie Ní Churreáin and Niamh McCann, hosted by poet and journalist Gerard Smyth. Further information and booking can be found at the link below. BOOK NOW Boy Dancer is a new exhibition emerging from the first collaboration between poet Annemarie Ní Churreáin and visual artist Niamh McCann. A Solstice-commissioned project, Boy Dancer interweaves a series of poems by Ní Churreáin with line drawings and installation by McCann, exploring grief, ritual, and transformation. Boy Dancer unfolds as a textual wake-an act of keeping vigil, remembering, and celebrating in response to the loss of Ní Churreáin’s foster brother. Her poetry practice…”

Solstice Arts Centre, County Meath
Annemarie Ní Churreáin and Niamh Mccann: Boy Dancer
Opening Sat 11 Apr
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This appears to be a drawing, greyscale, probably pencil, of a bird flying from right to left across the image, close-up with much detail, seen from its left side, and it stares back; what appears to be a small crown of thorns is about to drop onto its head (!) • “Join us on Saturday 11 April at 2:30pm for a special In Conversation event with Annemarie Ní Churreáin and Niamh McCann, hosted by poet and journalist Gerard Smyth. Further information and booking can be found at the link below. BOOK NOW Boy Dancer is a new exhibition emerging from the first collaboration between poet Annemarie Ní Churreáin and visual artist Niamh McCann. A Solstice-commissioned project, Boy Dancer interweaves a series of poems by Ní Churreáin with line drawings and installation by McCann, exploring grief, ritual, and transformation. Boy Dancer unfolds as a textual wake-an act of keeping vigil, remembering, and celebrating in response to the loss of Ní Churreáin’s foster brother. Her poetry practice…”

The LAB, Dublin 1
Oisín Tozer: A Fragile Line
Closing Sat 11 Apr
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Mark Joyce | although this is a painting in portrait format, it looks very much like coloured strips of torn paper have been aligned alongside each other in gentle curves, and that these assemblies of curves are intern on pieces of paper that are assembled into a larger image; here and there raw canvas shows through • “Green On Red Gallery is proud to announce a new solo exhibition by Mark Joyce. The' wandering' in the exhibition title is a reference to the physics of light and celestial mechanics.  It is also a nod to his artistic journey over the decades through the indeterminacy of painting. Joyce uses an arc motif, an elemental unit of human invention and expression with oblique reference to early human structures, to manuscripts and notations or, as the artist likes to say, to ‘ stuff holding stuff up ’.  These works set out with a procedural rigour.  However, motifs that appear stable go through repetition and variation, modest but consequential, becoming out of kilter…”

Green On Red Gallery, Dublin 1
Mark Joyce: Wandering Star 
Opening Sat 11 Apr
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Two artworks by PF; textile and paint on wood; abstract, pretty much; broad strokes of black, yellow ochre, orange-red in the left-hand work; floral pattern against a black background in the fabric at the top of the piece, a reddish-black stroke of paint across the centre of the work, horizontal, and bare wood below

Two pieces coming out of my studio at the moment. 40 x 15cm?, 30 x 25cm?; mixed media

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Image: photo, possibly an installation shot; we seem to be looking at many rectangular mirrored surfaces on top of or abutting each other; they seem to be reflecting part of a partially stained-glass window, but also possible artworks; crawling across the mirrors are critters made of clay (probably), reptilian, possibly miniaturised dinosaurs; closer to the camera seem to be partial critters in pale yellow-ochre clay • “Limerick City Gallery of Art (LCGA) is delighted to launch a new exhibition entitled Clann Miotlantach / Mythlantics by Alice Rekab. Alice Rekab is an artist based in Dublin. They examine the intersection of personal and broader, shared historical and cultural narratives via the perspective of identity and memory, informed by their lived experience as a person with both Irish nationality and Sierra Leonean ancestry. Specifically, they operate within the framework of the family unit to address themes of artistic relationships and inheritance, ethnicity, hybridity,…”

Limerick City Gallery, Limerick
Alice Rekab: Clann Miotlantach / Mythlantics
Closing Sun 5 Apr
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Image: Eamon O'Kane: Eileen Gray's Dream House (E-1027), 2026, acrylic on canvas, 100 x 120 cm | on the surface, this is a fairly photographic rendering of Eileen Gray’s famous house, viewed apparently from slight off-shore in the Mediterranean; what makes it very unusual as a painting in the different ways in which the paint is applied; the trees etc. in the hill behind the house, and also the see partially, seem to have been spray-painted on, through a stencil; the rocky shoreline uses a different technique, something close to watercolour or paint-by-numbers; the house itself, aparet from blurred edges where it meets the foliage, is very sharp-edged, almost like cut-out bits (particularly the strong-blue rectangles were glued to the canvas; fascinating inconsistency • "Former Senior Curator of the Irish Museum of Modern Art, Catherine Marshall describes his oeuvre as follows: “O’Kane plays on the notions of the ideal; the ideal studio, the ideal art collection, the ideal museum…”

Hillsboro Fine Art, Dublin 1
Eamon O’Kane: Studio, House, Museum
Closing Sat 4 Apr
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Michael Corrigan: Blainroe, Wicklow I, Archival Pigment Print, ed of 5, 40h x 50w cm | black-and-white photo taken standing on a sandy beach, presumably looking east as it is taken in Wicklow and we see a low sun, mostly occluded by clouds, a dark horizon, a calm sea with calm waves rolling towards wet sand reflecting a wispy sky • "In Margins, Michael Corrigan presents a contemplative body of photographic work that reflects upon what lies at the edge: of land, sea and sky; of moments passing; of perception itself. The title carries multiple meanings and references; geographical, temporal, philosophical and poetic, and invites viewers to slow their gaze and consider what is often peripheral or taken for granted. The images focus on liminal spaces: shorelines where land dissolves into water, skies that merge and blend with sea, and light that shapes and transforms these elements. These are places frequently regarded as preludes to somewhere else, yet Corrigan elevates them to…”

SO Fine Art Editions, Dublin 2
Michael Corrigan: Margins
Closing Sat 4 Apr
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Shirani Bolle, It’s a Girl, 2025. Yarn, thread, ribbon; dimensions variable. Courtesy of the artist | photo of a scarf, or scarf-like tapestry object, screwed to a wall; it’s background is an olive green, on which, or into which, the words ‘IT’S A GIRL’ is woven / crocheted in a pale pink; there is a sort of one-complex-flower bouquet top left on the scarf, and random skeins of thread and wool hang and loop down from the bottom edge of the scarf; some of these appear to be silver • “Shirani Bolle is an artist with Sri Lankan, Dutch-German, and British heritage. Her practice encompasses performance, text, sculpture, and sound. She investigates the role and status of women in both domestic and media contexts. this has nothing to do with me is Bolle’s first solo show. The exhibition brings together an expansive and eclectic range of works addressing themes of care, intergenerational trauma, gender-based violence, and masking. The selection is shaped by the artist’s lived and…”

SIRIUS, Co. Cork
Shirani Bolle: this has nothing to do with me
Closing Sat 4 Apr
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Niamh Porter: Case study No. 8, 2022, oil on canvas, 50 x 60cm | view of what may be a resting area within an office environment, painted in shades of pink with hints of yellow; we see a long sofa, L-shaped, with a coffee table in front of it, possibly with a flower on it and some documents, etc.; there are cushions on the sofa; And there are a lot of cupboards and a surface on which you might make yourself a tea / coffee, maybe • “Taylor Galleries presents The Shape of Longing, a new exhibition by Niamh Porter, curated by Eamonn Maxwell and presented in Taylor Two, our newly established second-floor exhibition space dedicated to artists who are currently unrepresented and who have graduated in the last 10 years, giving an important platform to early career artists in Ireland. Niamh Porter makes paintings of rooms and objects that quietly reflect on time, intimacy, and desire. Her recent work draws from the series With time and straw, the medlars ripen, a title borrowed from a…”

Taylor Galleries, Dublin 2
Niamh Porter: The Shape of Longing
Open from Fri 3 Apr
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Nigel Rolfe: Still Even (detail), giclée print on 300gsm acid free Fabriano watercolour paper, 2026 | black-and-white image of a persons left hand grasping the spiky stem of a large-leaved plant; looks painful; the forearm and hand are coming in from the left edge of the photo, with the head itself almost dead centre; we see some grassy ground and trees / shrubbery behind • “An exhibition of new work and live performances. The viewer is confronted with sound and walls of strong colour and black and white imagery mostly of plants seen or held at close range.  The German photographer Karl Blossfeldt comes to mind but you can't help feeling the human story, the environmental cost, the unnecessary waste of life, the irony of the beauty. ' e' originated in 17th Century Holland and translates as still life.  More events to be announced.”

Green On Red Gallery, Dublin 1
Nigel Rolfe: Still Even
Closing Fri 3 Apr
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Image: Lara Quinn | this appears to be a photo of brunette wig on a red cushion on a very tall black table with a top just wide enough to hold the cushion, all on a black circle on the ground, possibly made of dirt, with a halo of light around it on the floor, then some aspects of the darkened room; a light is shining down from above, centred on the wig • “Moving away from traditional religious structures, the featured works in the exhibition draw on pre-Christian practices, folklore, and reimagined religious symbols to address contemporary environmental, political, and existential uncertainties. Through sound, ritual objects, sacred geometry, archetypal imagery, and a renewed connection to the land, the gallery is transformed into a contemplative space where art and worship intersect. Featuring artists from Ireland and Poland, two cultures shaped by Catholicism and enduring folk traditions, the exhibition reflects a shared return to myth, ritual, and the sacred as ways of…”

GOMA Gallery of Modern Art, Waterford
Sanctum | Group Exhibition
Opening Thu 2 Apr
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Margo Banks, White Field, mixed media, 64 x 90cm | drawing of what seem to be three wolves, one quite pink, one blue-ish, one a paler blue; two are more or less looking in our direction, menacingly naturally, while the third sort of prances in the background; swift gestural marks • "Solomon Fine Art is delighted to host its annual Spring Group Exhibition. A vibrant mix of painting, sculpture and print representing the best of contemporary Irish art. Including work by John Behan RHA, Margo Banks, Leah Beggs, Tom Climent, Clifford Collie, Eamon Colman, Orla de Bri, Ana Duncan, Margaret Egan, Bridget Flinn, Carol Hodder, Stephanie Hess, Bernadette Madden, Eilis O’Connell RHA, Helen O'Sullivan - Tyrrell, John Short, Corban Walker & Michael Wann and many more…”

Solomon Fine Art, Dublin 2
Spring Group Exhibition: Gallery & Invited Artists
Open from Thu 2 Apr
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photo: A pupil of Castlebridge NS | side-on shot of a kid who looks really into drawing on a small-ish drawing pad; bent over it, intent, intense; bright blue hoodie; side-on photo; glimpses of two others in the background • “In association with Wexford County Council and the Arts Council In 2013, the Living Arts Project was established as an artist-in-residency scheme in primary schools, supporting the existing partnership between the Arts Department of Wexford County Council and Wexford Arts Centre. The aim of this project is to provide children with an understanding and appreciation of contemporary visual art. The Living Arts Project exhibition represents a selection of work produced by the participating primary schools and offers pupils a chance to see their work presented in a professional gallery. The following artists and schools were selected for the 2025-26 programme: Sonya Weston and Kate Tyrrell with Castlebridge NS (Wexford), Deirdre Meehan-Buttimer and Shannon Jade…”

Wexford Arts Centre, Wexford
Living Arts Project 2026
Open from Tue 31 Mar
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Image: Sasha Sykes, Reassurance, 2025, Hydrangeas, ferns, resin, acrylic, 75cmD, Image courtesy of the artist | the materials mentioned in the image description are arrayed tastefully (?) inside a frameless tondo • "A sculptural exploration of familial care and the natural world’s quiet resilience. Filial Love is an intimate exhibition that brings together sculpture, video and wall-mounted works to explore nature through the lens of familial bonds. The exhibition is anchored by a freestanding central installation: a full-length, human-scaled, floral resin cloak, positioned in dialogue with a granite boulder. These elements form a meditation on protection, labour and enduring care - personal, generational and ecological. Using nature as her canvas, Sykes embeds organic materials in resin to create works that are both ethereal and grounded, blending meticulous craftsmanship with emotional resonance. Her practice, widely celebrated for its innovative technique and poetic sensibility, is represented in international museums and private collections and has been described by critics as “a harmonious blend of the organic and the sublime.” Filial Love draws deeply from the artist’s relationship with both her 85-year-old mother, Jessica, and her celebrated garden in Carlow. Throughout Sasha’s childhood, Jessica’s life’s work was constant tending - always with a bucket or pot in hand; a quiet, ongoing labour of care that continues even as roles subtly shift over time. The works in this show incorporate foraged plants, dried and embedded over two years. Inspired by the tradition of cloaks handed down from mother to daughter at the time of marriage, the central installation functions as a surround: protective, enveloping and reassuring. Composed entirely of plant material from Jessica’s garden, it reflects time invested, craftsmanship and nurturing attention. The series of wall roundels and the Filial Love video piece extend the narrative, but the installation remai

Royal Hibernian Academy, Dublin 2
Sasha Sykes: Filial Love
Closing Sun 29 Mar
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Royal Hibernian Academy, Dublin 2
Sasha Sykes: Filial Love
Closing Sun 29 Mar
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CCA, Derry
Yasmine Robinson: Glimmers
Opening Sat 28 Mar
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Two paintings side by side against a purplish-pink background; the one on the left seems to be an overhead-to-one-side image of an iceberg on a black-blue sea; the one on the right appears to be depicting snow falling – big globs of it – on a reddish landscape against an inky sky; the style in both is broad-strokes representational • ““Forward,” said granny in the snow – “Eteenpäin,” sanoi mummo lumessa (Finnish Proverb) • Jane Hughes and Selma Mäkelä • Curated by Paula Barrett The Finnish proverb “Eteenpäin, sanoi mummo lumessa” – “Forward,” said granny in the snow - evokes resilience and determination in the face of adversity. This spirit of perseverance underpins this exhibition that brings together the work of Jane Hughes and Selma Mäkelä for the first time. The artworks chosen for this exhibition position landscape as a site for engaging with deep time, a concept that reaches far beyond human history into geological and cosmic scales. Through pigment and layered surfaces, the…”

Uillinn: West Cork Arts Centre, Co Cork
Jane Hughes and Selma Mäkelä: “Forward,” said granny in the snow…
Opening Sat 28 Mar
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Taylor Galleries, Dublin 2
Regine Bartsch: Flowers inside the Fire
Closing Sat 28 Mar
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GOMA Gallery of Modern Art, Waterford
Jen Wade: the soft animal of your body
Closing Sat 28 Mar
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Margaret Egan: The Tonality of Music invades the Heart, acrylic on linen, 100 x 112cm | fantasy scene of a large group of musicians, three of whom are in the foreground wearing colourful dresses while holding a violin, a viola (?) and a third stringed instrument; the space seems to be a deep arched vault, with light pouring in in the distance; the floor / ground is suggestive of cloud or sheet music • “Solomon Fine Art is delighted to host an exhibition of new paintings by the highly celebrated Irish artist, Margaret Egan. The Wonder of the Present. The Possibilities of the Future brings together a new collection of figurative and landscape paintings in Egan’s distinctive style. Based on her interpretation of contemporary life, Egan’s stunningly atmospheric landscapes and graceful figurative compositions demonstrate both the tumultuous and the reflective aspects of our world.“

Solomon Fine Art, Dublin 2
Margaret Egan: The Wonder of the Present. The Possibilities of the Future
Closing Sat 28 Mar
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Limerick City Gallery, Limerick
Mary Nagle: MURMURARE
Open from Fri 27 Mar
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Hall 4, RDS, Dublin 4
ArtEvolve
Open from Fri 27 Mar
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