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Hard to be sure what exactly is being depicted, but it looks like a sofa or a bed on which have been thrown various colourful patterned objects; but there is also a shape which may be a fish, in fact there may be multiple carpThe exhibition at LCGA is the third and final iteration of the exhibition as part of its national tour. • “Born in Cork and now based in London, Dwyer has a significant international profile. Penti Menti brings together new paintings, drawings and ceramic sculpture created specifically for this exhibition, many of them being the largest in the artist's career to date.”
Limerick City Gallery, Limerick
Sarah Dwyer: Penti Menti
Open from Sat 18 Apr
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Image: Photo by El S on Unsplash | what appears to be a watercolour of someone’s right eye; partial view of eyebrow; skin tones, and some red strokes • “How is a work of Art created? How does something come from nothing? How does an idea go from its original form to something else - an Artwork - in a Gallery. What even is that original form? This curated group exhibition brings together individual artworks by Artists and the allied ideas or inspiration behind them - be it a sketch, a photograph, a text, voice-memo, doodle or something entirely different. Featuring works by some of Ireland’s leading Artists, the exhibition explores the creative process from first spark to finished work. The exhibition suggests the messiness, persistence and even obsession needed - with the end-product only sometimes in line with the starting point.” This is a Source20 exhibition. …”
The Source Arts Centre, Thurles Co Tipperary
The Point Of Origin
Closing Sat 18 Apr
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Image: photo, black-and-white; it appears to be of an artist drawing onto pieces of paper or fabric that is clothes-pegged to a clothes-line; they are blowing in the wind, and the artist is stretching up their right arm to draw; we only see from waist up of the artist; conifers and a bare tree or two in the background • “Curated by Eamonn Maxwell, Nósanna explores the transformative power of the ritual in Irish art and life. Eileen’s installations reimagine relics and Catholic rites from twentieth-century Ireland by assembling found objects and natural debris into delicate, hybrid artefacts. Arranged in curiosity cabinets, her forms commemorate and subvert traditional rituals, forging new meanings from discarded material. Gary’s “Wind Letters” channels the invisible language of the wind through meditative performances at sacred sites across the Midlands, using asemic writing and photography to capture fleeting presences tied to place and belief. His work, deeply influenced by the…”
Roscommon Arts Centre, Circular Road Roscommon Town
Eileen Fair and Gary Robinson: Nósanna
Closing Sat 18 Apr
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Mark Swords: If you adjust your eyes correctly, various materials on canvas, 50 x 40 cm, 2026 | looks somewhat like an aerial view of a favela, but it also looks like post-it notes in various colours on a mosaic, or… • “'I heard the term Pareidolia (par-i-DOH-lee-uh) recently on a podcast about cave art in which Dr Isobel Wisher defined it as the “psychological phenomenon of seeing meaningful forms in random patterns”. A more narrow example of this would be to see a face in a rock or the shape of a cat in a cloud. More and more I feel I’m trying to see something (anything?) in the sheer volume of information in our world. In recent years I have been thinking and reading about historical examples of expansionism. Manifest Destiny was the 19th century ideology under which settlers moved west and occupied the North American continent claiming it as their own… it was a belief in their inherent right to this new land. Manifest destiny, Spazio Vitale and Lebensraum are all terms…”
Kevin Kavanagh, Dublin 8
Mark Swords: Pareidolia
Closing Sat 18 Apr
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Marcel Vidal: Hand and plant, 2025, oil on linen 90 x 70 cm / 35.4 x 27.6 in | rendition in paint of what is presumably a flash photo taken up close to a hand stretching as if to grab the lens; behind the plant we see dark-green leaves of a houseplant • "Kerlin Gallery is pleased to announce blue moon shadow, an exhibition of new painting by Marcel Vidal. "Drawing from personal photographs, online archives, and restaged snapshots, I work across personal and impersonal narratives, blurring the lines of authorship and subject matter. Painting offers an intimate, material engagement. Through cropping and omission, I fragment context and interrogate how images construct narrative and meaning. Gesture and posture may read as intimate, performative, or controlling, depending on their placement within theframe. Cropping becomes a compositional strategy that generates ambiguity rather than resolution. The images hold partial figures, coded gestures, and authority, hands gripping folder…”
Kerlin Gallery, Dublin 2
Marcel Vidal: blue moon shadow
Closing Sat 18 Apr
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Landscape-format image; yellow text, all in sans-serif capitals, that reads as “MEMORY OF A FREE FESTIVAL’ ranging over four lines. to its right is a simple hand-form dong a ‘stop’ gesture; there is a glowing sun – or glowing radiation source – in the middle of the hand, and shapes suggesting waves, maybe headlands as well • “Memory of a Free Festival is a touring exhibition and events programme taking place between March 2026 to March 2027. Conceived by Ormston House, the project responds to the Carnsore Point anti-nuclear festivals that took place in Wexford between 1978 and 1981. Organised by a coalition of groups, the festivals were attended by thousands of people. These legions were unified by their shared opposition to what would have been the first nuclear power plant to be built in Ireland. In addition to musical entertainment and lectures the free festivals also included workshops and exhibitions. Featuring works by Orla Barry, Brian Duggan, and Alanna O’Kelly the…”
Ormston House, Limerick
Memory of a Free Festival
Open from Fri 17 Apr
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Eddie Kennedy: Cois Farraige, oil on canvas, 50 x 50 cm | as the title implies, a seaside view; it is rendered, by all appearance, in thick swipes (almost) of paint; grey sea, cut into on the left by two headlands, possibly, and by one on the right; blue sky, white cloud above the horizon; and Kennedy’s usual uncertainty at the edge of the canvas, seemingly underpainting that was never going to be overpainted • "Eddie Kennedy is one of Ireland’s best loved painters and has been exhibiting at Hillsboro Fine Art for more than 20 years. This exhibition From the Studio presents a selection of the artist’s work from across the decades in celebration of a wonderful partnership and friendship. First exhibiting at the Independent Artists Exhibition at the Douglas Hyde Gallery in 1982, Eddie Kennedy graduated from Limerick School of Art and Design with a Distinction in Painting in 1983. He was awarded a full scholarship by the University of Cincinnati, where he received a Masters in Fine…”
Hillsboro Fine Art, Dublin 1
Eddie Kennedy: From the Studio
Open from Fri 17 Apr
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Bernadette Kiely, Imagine life without art, 2017/8, oil on canvas, 70 x 100 cm | painting in appropriately murky colours of a flooded corridor in a house; we see artworks on two walls, waist-high unpleasantly coloured water, and someone wading through it; strong white light is coming from the far end of the corridor; artworks may be floating in the flood • “Taylor Galleries warmly invites you to the launch of we look at the world once…, selected works and words 2015–2025 by Bernadette Kiely In celebration of Bernadette Kiely’s new book spanning a decade of exhibitions, and the recent acquisition of her drawings by the National Gallery of Ireland, Taylor Galleries is delighted to present a book launch alongside the exhibition of canvases and drawings from 1996–2026. The 150-page fully illustrated publication, designed by Peter Maybury, features documentation of recent exhibitions including Don't Need No Country, Don’t Fly No Flag(Galway International Arts Festival 2024) and Ashes
Taylor Galleries, Dublin 2
Bernadette Kiely: We look at the world once…
Opening Thu 16 Apr
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Elva Mulchrone | Looks like many thinks; like a cyanotype; like a plan or elevation of a building, scratchily sketched, with white neon tubes at rakish angles; like some sort of typesetting in which only the E is discernable in a grid-ish layout; square • “ In the Grid is Elva Mulchrone’s affective response to her Fulbright award and project in 2024/5, and the totality of the extraordinary variety and depth of research at the Graduate Center CUNY. Pieces represent her response to being in the hub of NYC and personally experiencing its striking inequalities, controls, vibrations, collective anxiety and social climate. Mulchrone meditates on the research and immersion in working groups to offer a reflection on being In the Grid and feeling its pulse from an oblique angle. Abstract work explores the city’s complex relationship with recurrent patterns and alludes to the control exercised by structures and systems together with indomitable human spirit. Paintings explore medium and…”
The LAB, Dublin 1
Elva Mulchone: In the Grid
Opening Thu 16 Apr
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Image: Sophia O'Sullivan, 38, Ed of 30, Etching & Aquatint, 36h x 34w cm | abstract work; blocks of colour, such as orange rectangle taking up most of the top half of the canvas; its bottom right corner is curved, revealing a yellow colour ‘underneath’; somewhat similar shapes in yellow ochre and greyish pink blow the orange rectangle; to the right are vertical columns of colour, sort of squeezed against the right edge; broad blue band, narow yellow, less narrow black, narrow yellow, broad pale greyish blue • "SO Fine Art Editions is delighted to present ‘What Comes Next…’, a vibrant group exhibition celebrating the arrival of Spring. Featuring bold colour and an array of fantastic artworks, the show brings fresh energy and inspiration to the gallery. Artists include: Martin Byrne, Alastair Keady, Stephen Lawlor, Emmanuel Matt, Mary O’Connor, Sophia O’Sullivan, Helen O’Sullivan, Tom Phelan, Luke Reidy and Aoife Scott."
SO Fine Art Editions, Dublin 2
What Comes Next
Open from Thu 16 Apr
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Sarah Durcan, The Invisibles, 2023, film still, Platform Commissions EVA International & part funded by NCAD Research Office. | we see head and shoulders of two figures, long-haired, funky headwear, possibly medieval, the one nearer us staring determinedly over our heads and towards destiny, the other leaning against the first and looking up at the first one’s face' dramatic lighting, plus a spear sticking up from behind • “The NCAD Gallery & NCAD Research Office present NCAD Staff research outputs in the NCAD Research Exhibition & Programme 2026. RESEARCHERS / EXHIBITORS Áine Byrne | Michelle Browne | John Conway | Niall Cullen | Yvonne Cullivan | Neil Dunne | Janine Davidson | Sarah Durcan | Emma Finucane | Mary A Fitzgerald | Rory Hanrahan | Vivian Hansbury | Catherine Harty | Ramon Kassam | Anne Kelly | Gareth Kennedy | Emma Mahony | Jamie Murphy | Kathy Mooney | Tom O'Dea | Rónán Ó Raghallaigh | Jye O'Sullivan & Renato Pera | Seoidín O'Sullivan | David Timmons | Rachel…”
NCAD Gallery, Dublin 8
NCAD Research Exhibition & Programme 2026
Closing Fri 17 Apr
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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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Shows etc. coming / going this week+
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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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