In the land of Tib and Tom, Rubicon Projects


Irish Georgian Society, 58 South William Street, Dublin 2  
In the land of Tib and Tom 
 
final week this Wednesday-Saturday, 12-5pm 
and by appointment +353 1 670 8055 
until Saturday 31st May 2014 at 5pm

Rubicon Projects at the Octagonal Room City Assembly House



 
Rubicon Projects are privileged to present this exhibition about the real and imagined stories of places in this room. Five artists depict various physical spaces and territories or examine the material traces that linger in buildings over time, as they change form and function.
Very few man-made things seem as stable, as immutable, as a building. Yet the life of any structure is neither fixed nor timeless. Most built things are refined and reshaped by their occupants over time. Whatever changes are applied though, the true history, and surely some ghosts and memories will remain as tangible marks, stories and myths.

The 'Society of Artists in Ireland' built the Octagonal Room at City Assembly House in 1771; it stands as the first purpose built public art gallery in Britain and Ireland (possibly even in Europe). 

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Martin Healy's

film and photography deal with the issue of belief and its dynamics. He doesn't present us eerie subjects, but merely the contexts within which these things might happen. He features characters to whom, or by whose hand, we can imagine an unsettling story. So a Healy image immediately flips us into the absent narrative, into the story, the folklore, and the myth. 

 

Colin Crotty

culls characters and scenarios from books, documentary film and from the Internet, these are detached from their original meaning and are re-interpreted to create a disjointed narrative. He evokes a fictional scenario, but one that is familiar as it is ingrained in a collective consciousness. 

Gabhann Dunne's

serenely coloured world has a visionary and elegiac quality. Geographic features, figures, buildings and animals emerge from hazy ground, and the artist demonstrates the haunting, lyrical qualities that can be drawn from paint. In stark contrast to the sublime qualities of his paintings, the underlying message explores something darker.

 
 
Eithne Jordan's interrogation of the urban has been mainly focussed on European cities, often depicted in the light of early dawn and pending darkness. Jordan's painting is held in a modulated tonality, and yet it is loaded with suggested narratives. Newer works venture indoors; timelines are compressed in the architecture and events as a lean contemporary gallery nestles in what was once clearly a fine period home and a large public building hosts an oversized marble-like urn of almost garish flowers.

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Stephen Brandes large and detailed drawings and his smaller paintings are a complex series of fabrications that paint a retro-futuristic portrait of Europe. Whether it is himself or his fictional character whose 'travelogue' is the central motif he allows for sub-plots and departures, fed by personal observations, a leaning towards absurdist invention and references to episodes in modern European history.