Eoin Mac Lochlainn (with Geraldine Mitchell), Slánú/ Woundwood, watercolour on birch panel, 55x55cm, 2026
This piece entitled: 'Slánú/ woundwood' emerged out of discussions with the poet Geraldine Mitchell about the resilience of nature.
Alatus, a collaborative piece by Hugh Cummins and Yanny Petters, 2026. Private collection.
Woods: Pepperwood, Poplar and Holly
Glass: 24 carat gold leaf on clear glass
38x36x8.5cm
After several meetings and many experimental sketches Hugh and Yanny designed ‘Alatus’ (winged in Latin).
"The making of the piece was dictated and influenced by the flexibility as well as the limitations of the materials. Our ambition was to make a unique display piece that would show off our skills without compromising each artists practice. It was certainly a challenge!
Hugh explored new ways of forming and shaping the fine veneers he uses. This required making a unique former or mould to create a curved column to support the ‘wings’ which hold Yanny’s glass. Combining straight elements with graceful curves was a special technical challenge. The ‘wings’ required the making of a special jig to cut the shape and depth for the glass while Yanny made templates and jigs to cut the glass to fit the ‘wings’ which display the gold leaf design. The gold leaf was applied and the leaf pattern created by removing the excess gold around the design each ‘wing’ having its own pattern. The leaf pattern is inspired by the trees from which the wood came and their open layout on the glass allows light to shine through to cast shadows as well as reflecting golden light onto the objects that will be displayed on the ‘wings’."
Saltatio I (meaning dance).
A collaborative piece by Hugh Cummins and Yanny Petters, 2026
Woods: Holly base encircled by Teak.
Glass: 24 carat gold leaf and etching on clear glass.
Size: 21.5cm Diam. 4cm deep
For the Saltatio pieces Hugh built a mould or form to shape and bond the circle of wood carefully fitting it to the base. The greatest challenge was in cutting the opening for the glass creating a rebate to hold the disk in place.
Yanny cut these disks from clear glass fitting them exactly to the openings. The edges were etched with acid and the design was gilded with 24 carat gold. The design reflects the grain of the wood.
While this challenging journey took us through exploring the combination and juxtaposition of contrasting materials, the experience was a bit like a series of complex dance moves, each artist accommodating the other and learning new skills from the process. Hence the name ‘Saltatio’, the dance.
Saltatio II (meaning dance).
A collaborative piece by Hugh Cummins and Yanny Petters, 2026
Woods: Indian Rosewood encircled with Limed Oak.
Glass: 24 carat gold leaf and etching on clear glass
Size: 21.5cm Diam. 3.5cm deep
For the Saltatio pieces Hugh built a mould or form to shape and bond the circle of wood carefully fitting it to the base. The greatest challenge was in cutting the opening for the glass creating a rebate to hold the disk in place.
Yanny cut these disks from clear glass fitting them exactly to the openings. The edges were etched with acid and the design was gilded with 24 carat gold. The design reflects the grain of the wood.
While this challenging journey took us through exploring the combination and juxtaposition of contrasting materials, the experience was a bit like a series of complex dance moves, each artist accommodating the other and learning new skills from the process. Hence the name ‘Saltatio’, the dance.
Nickied Hayden, Strong Country, etching, Ed. of 100, 49x40cm (framed)
Having been invited by the Olivier Cornet Gallery to respond to the theme of collaboration for the Bloomsday celebration exhibition, I invited my friend Caroline to work with me. We chose to revisit images we had each explored in our previous practices: my etching titled "Strong Country" and her linocut "Leaning tree, Lower Dominic Street, Dublin"
In bringing the two trees together, we discovered a natural affinity between them, as if they were in quiet dialogue.
In her linocut, Caroline depicts a single horse chestnut tree blooming near
the Ilac Centre in Dublin City Centre. Although no longer in existence since 2013,
the trees' leaning stance seemed to hint at it once having weathered a storm, or perhaps having circumvented an obstacle in its roots path. Similar themes are encountered by the characters throughout Ulysses, reflecting a shared human experience of awareness irrespective of time and place.
My etching, Strong Country, was made in 1989. The tree depicted stood in Mulhuddart, where I was brought up. For me, it has always symbolised endurance.
Leopold Bloom, the central figure in Ulysses, is himself defined by endurance
and an unassuming strength. The tree stands for him - resilient,
deeply rooted, and continuing despite everything.
Nickie Hayden
Caroline Patten, Leaning Tree, Lwr Dominic Street, Dublin. Linocut, Ed. of 3, 39x40cm (framed)
Having been invited by the Olivier Cornet Gallery to respond to the theme of collaboration for the Bloomsday celebration exhibition, I invited my friend Caroline to work with me. We chose to revisit images we had each explored in our previous practices: my etching titled "Strong Country" and her linocut "Leaning tree, Lower Dominic Street, Dublin"
In bringing the two trees together, we discovered a natural affinity between them, as if they were in quiet dialogue.
In her linocut, Caroline depicts a single horse chestnut tree blooming near
the Ilac Centre in Dublin City Centre. Although no longer in existence since 2013,
the trees' leaning stance seemed to hint at it once having weathered a storm, or perhaps having circumvented an obstacle in its roots path. Similar themes are encountered by the characters throughout Ulysses, reflecting a shared human experience of awareness irrespective of time and place.
My etching, Strong Country, was made in 1989. The tree depicted stood in Mulhuddart, where I was brought up. For me, it has always symbolised endurance.
Leopold Bloom, the central figure in Ulysses, is himself defined by endurance
and an unassuming strength. The tree stands for him - resilient,
deeply rooted, and continuing despite everything.
Nickie Hayden
David Fox, Parkview Garage, oil on canvas, 50x70cm, 2026
David Fox and Gary Kearney share an interest in depicting the places that shape everyday life. Though one artist works primarily within rural settings and the other within urban environments, both place buildings at the centre of their work, exploring how these spaces reflect change over time.
The collaboration is not just about depicting changes in the landscape, but also the changes in the artists' own journeys as their careers progress. Both artists share a sense that there was activity there at some point—it may have been a few years ago or just a few hours ago. Ultimately, it is in the hands of the viewer how much they wish to share in that experience.
Gary Kearney, Last Light, acrylic on canvas, 50x70cm, 2026
David Fox and Gary Kearney share an interest in depicting the places that shape everyday life. Though one artist works primarily within rural settings and the other within urban environments, both place buildings at the centre of their work, exploring how these spaces reflect change over time.
The collaboration is not just about depicting changes in the landscape, but also the changes in the artists' own journeys as their careers progress. Both artists share a sense that there was activity there at some point—it may have been a few years ago or just a few hours ago. Ultimately, it is in the hands of the viewer how much they wish to share in that experience.
Vicky Smith, Briseann an dúchas trí shúile an chait / Heredity breaks out in the eyes of the cat, oil on panel, 40x30cm, 2024
Saoirse Ní Cradóg, Saoirse agus an llama / Saoirse and the llama, acrylic on panel, 40x30cm, 2026
Kelly Ratchford, Ali Moore, A Pulsating Bloom, 106 stained glass pieces, size variable, 2026
Kelly Ratchford, Simple Minded Jim and His Dirty Little Fuckbird Nora, stained glass, 20x10cm each, 2026
Mary A. Fitzgerald, Songs, acrylic on canvas, 50x50cm, 2026
Marc Reilly, Fragment, Birdsong, Early morning, early Spring/Summer 2026, mixed media on canvas, 100x100cm, 2026
"On looking into Mary's painting, Songs, I get the sense that there are things happening outside the picture plane, things on the edge of being fully visible, a sense of stepping forward towards something, accompanied by song".
Marc Reilly