Sinéad Ní Mhaonaigh
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| Sinéad Ní Mhaonaigh | |
|---|---|
| Born | 1977
Dublin |
| Nationality | Irish |
| Education | Dublin Institute of Technology (now TUD) |
| Known for | Contemporary Painting |
| Elected | Associate Member of the Royal Hibernian Academy (2018) |
Sinéad Ní Mhaonaigh is an artist based in County Wicklow, Ireland, who has been involved in contemporary Irish painting for over two decades. She is represented by the Kevin Kavanagh Gallery, Dublin, and 532 Gallery Thomas Jaeckel, New York. She was recently elected a member of the Royal Hibernian Academy.
Career & Biography[edit]
Ní Mhaonaigh graduated with a BA in Fine Art Painting from Dublin Institute of Technology (now TUD) in 2001. She was awarded the RHA’s Hennessy Craig Scholarship, selected for the RHA Futures exhibition, and has been shortlisted for both the AIB Art Prize (Ireland) and the Marmite Prize for Painting (UK). Ní Mhaonaigh’s painting, Monument, was nominated for the John Moores Painting Prize,[1] held at the Walker Art Gallery in 2018 as part of the Liverpool Biennial.[2]
Ní Mhaonaigh’s work has been shown throughout Ireland and internationally – from Los Angeles and New York,[3] to Paris and Madrid. Recent solo exhibitions include Structure at 532 Gallery Thomas Jaeckel, New York;[4] Struchtúr (2022),[5]Teorainn (2020), and Achar (2018)[6] at Kevin Kavanagh Gallery; Cnuasach (2021) at Uillinn: West Cork Arts Centre; and Macalla (2020) at Mermaid Arts Centre. Ní Mhaonaigh exhibited as part of VOLTA New York in a solo presentation in 2016, and her work has recently been presented at other international art fairs, including Art Market Budapest and VOLTA Basel. Ní Mhaonaigh’s paintings are held in public and private collections throughout Ireland, Europe, and the Unites States.[7]
Ní Mhaonaigh regulalry contributes to Irish language broadcasting across radio and television, having previously worked for RTÉ Raidió na Gaeltachta from 2006 to 2012.
Over the years, Ní Mhaonaigh’s painting practice and exhibitions have attracted media coverage as well as critical and scholarly engagement.[8] Since 2004, nearly 300 of Ní Mhaonaigh’s paintings have been reproduced across four catalogue volumes, published by Lois Lane Publications.[9]
Artistic Practice [edit]
Ní Mhaonaigh is led by the material qualities of paint and the physical act of painting itself. She believes that to excessively discuss the essence of painting or to over analyse it is symptomatic of a contemporary media landscape that is saturated with images. Ní Mhaonaigh is interested in chronology and seriality within her work and has devised a “spare but sensually rich iconography”.[10]
Much like a poet, Ní Mhaonaigh is interested in ambiguity and in anachronisms. As suggested by Catherine Leen, she is a painter who suggests rather than represents.[11] Similarly, Caoimhín Mac Giolla Léith noted a “steady oscillation between literal and figurative readings, formal and thematic considerations, between savouring them as paintings – as compelling concatenations of shape, line, colour and texture – and understanding them as images of something.[12]
In recent years, Ní Mhaonaigh has presented solo exhibitions whose titles comprise singular words derived from the Irish language. As a fluent Irish speaker, she uses this device to examine aspects of her identity, lived experience, and her “place in a known world, or even beyond that.”[13] Examples include Struchtúr, Cnuasach, Imlíne,[14] Eatramh, Imeall, and Ardán[15] – which translate respectively into English as Structure, Cluster, Contour, Interval, Margin, and Platform. These "seemingly limitless titles" are "riven with ambiguity",[16] while serving to emphasise prevailing concerns in her work, relating to the "exploration and elaboration of bounded space".[17]
As noted by Aidan Dunne, for Ní Mhaonaigh, “the painted border is a boundary, a window frame through which we see the world, containing the burgeoning energies at work within”.[18] Catherine Leen further observes how the artist explores painting as a “philosophical and performative endeavour”, adding that “Ni Mhaonaigh’s persistent adherence to the difficult and demanding practice of abstract painting is in itself her most radical statement”.
Selected Collections[edit]
- Boyle Civic Collection
- Contemporary Irish Arts Society
- Culturel Centre Irlandais, Paris
- Ernesto Ventós, Barcelona
- Limerick City Gallery of Art
- Luciano Benetton Collection, Italy
- O’Brien Art Collection, Chicago
- Office of Public Works
- Royal Hibernian Academy
- The Arts Council of Ireland / An Chomhairle Ealaíon
- University College Dublin
References[edit]
- ↑ John Moores Painting Prize 2018. "Shortlisted artists".
- ↑ Niamh Nic Gabhann. "'Panache and Punch', Irish Arts Review, Autumn Edition, 2018".
- ↑ Tom McGlynn. "'Informed Painting', The Brooklyn Rail, May 2016".
- ↑ See. "Structure at 532 Gallery Thomas Jaeckel, New York (5 May – 4 June 2022)".
- ↑ See. "Struchtúr, Kevin Kavanagh, (3 – 26 February 2022)".
- ↑ John P. O’Sullivan. "'Achar', The Sunday Times, May 2018".
- ↑ ‘Selected Collections’. "Curriculum Vitae, pp. 4-5:" (PDF).
- ↑ ‘Reviews, Essays & Publications’. "Curriculum Vitae, pp. 5-6:" (PDF).
- ↑ Catalogues. "Sinéad Ní Mhaonaigh, Volumes I-IV".
- ↑ Aidan Dunne. "'Vivid displays of painterly power', The Irish Times, 16 February 2016".
- ↑ Catherine Leen. "'Space Exploration', Irish Arts Review, Summer Edition 2009" (PDF).
- ↑ Caoimhín Mac Giolla Léith. "'Within Bounds' in Sinéad Ní Mhaonaigh: Vol II Paintings 2008 – 2012 (Lois Lane Publications, 2019) ISBN 978-1-9161002-1-3" (PDF).
- ↑ Dominique Crowley. "'Beyond Language', interview with Sinéad Ní Mhaonaigh, The Visual Artists' News Sheet, March/April 2022, pp 12-13".
- ↑ Cristín Leach. "'Imlíne', The Sunday Times, 19 October 2014".
- ↑ See. "Ardán, Kevin Kavanagh (3 – 27 February 2016)".
- ↑ Pádraic E. Moore. "'AN tIMEALL' in Sinéad Ní Mhaonaigh: Vol I Paintings 2006 – 2008 (Lois Lane Publications, 2019) ISBN 978116100206" (PDF).
- ↑ Niall MacMonagle. "'What lies beneath', The Irish Independent, 13 May 2018".
- ↑ Aidan Dunne. "'Setting boundaries in order to break through barriers', The Irish Times, 11 February 2020".
External links[edit]
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