What We Can Do

Curated by Lindsay Merlihan, 126 Gallery Galway

Outside the box, inside our dreams, we are vortexes of imagination in perpetual motion.

What We Can Do is about ordinary humans doing extraordinary things. The essence of our humanness is held within the We Can… so what will we do with it? 

André Breton, Gaston Bachelard and Carl Jung paved the way for valuing an imaginal life by allowing the emergent images of the unconscious psyche to disrupt the psychological architecture of normality and challenge current systems. Through dreams, reverie, and the imagination, we meet the surreal, instinctual, creative interjections that break through the matrix of mechanical limitation and remind us of our humanity. 

Artists were encouraged to submit work which disrupts, excites, and envisions. What happens when we do it together? What wants to come through?

Think: radical joy, collective effervescence (i.e. the global women’s march or pride parade), moments of awe, a trick up the sleeve, resilience of the wounded, happy tears, strangers that hug, a Tom Robbins book, moments of synchronicity, surrealism, serendipity, distortion of reality, visionary artworks…or don’t think at all!

Frank Boyce – With Signs Following, oil and acrylic on board

Frank’s work explores themes of the human condition, politics, religion and social issues. In his current work, the shadow figure of the burned/disrupted man is prominent. This scarred and charred figure is a watcher, a sentinel who acts as witness. This figure represents the current lot of the zero contract worker, locked out of housing by high rents and low wages, no pensions or safety net. This figure is both the Jungian archetype and the shadow that tribal peoples fear can be stolen or trapped. The burned man is the mirror the artist uses to reflect the world to the viewer.

Veronica Buchanan – Silent Whisper, 2023, ceramic/textile

I draw inspiration for my work from personal life, connections, narratives, memories and reflection- these are all concepts that can trigger a need for an emotional response and thus form the basis for my work. I work in a variety of media and sometimes a combination where appropriate. The process is fluid and intuitive.

Paul Campbell – Don’t Eat the Forbidden Fruit, 2022, wood

How things have changed when back in biblical times a simple verbal warning of ” don’t eat the forbidden fruit” was sufficient, as nowadays a full risk assessment would be carried out along with signage. 

Frances Crowe – Celebrating Humanity and Love for all Nations, 2020, handwoven tapestry

This work was constructed as a response to the murder of George Floyd on May 25th 2020 in Minneapolis US. The narrative is Humanity, Love for all Nations, and Solidarity with humankind. Working in total isolation in my rural studio I impressed myself in the slow process of building line upon line in the construction of just one piece, which takes many months to conclude, giving time for reflecting on the big issues of our time.

Mark Cullen – Freaks of Ireland, 2022, children’s book

Freak’s of Ireland is a collection of fictional monsters and oddities from the island of ireland. It takes the form of an observational notebook with illustrations and notes taken on a pretend journey around the Island.

Mary Joyce Davis – Untitled, 2022,  gold and acrylic on canvas 

Deirdre Doherty – View from Portaw, oil on board

Mary Doherty – Nature’s Mindful Embrace, 2019, ceramic

“Nature’s Mindful Embrace” encapsulates the profound connection between humans and the natural world. The artwork portrays a pair of textured hands enriched with oxides, delicately cradling horse chestnuts, ensconced within their spiky protective shell. This juxtaposition symbolises the innate nurturing and protective qualities of nature towards the human mind. Intricate threads weave through the composition, emphasising the interdependence and intricate bond between humanity and the environment.

Orna Doherty – Aurora Borealas at Banba’s Crown, 2018, Textile Art

This piece captures the mesmerising beauty of the Northern Lights dancing above Banba’s Crown, Malin Head. The artwork is crafted using blind hem piecing techniques with tonal batik fabrics, creating intricate patterns reminiscent of the ethereal lights. The composition is further brought to life with freehand motion embroidery, applique and upcycled foils from sweet wrappers. The entire piece is preserved under a layer of translucent organza, creating a dreamlike effect.

Cara Donaghey – @Soft_Moth (Jesse) 2021, etching

This is a portrait of Jess McKinney, a poet and writer from Buncrana. It is part of a series of small works called “Collections”, that look at the various digital collections we have. Inspired by Derek Hill, the work explores how people “collect” in this day and age in the midst of a housing crisis, a cost of living crisis and a lack of print media. Scrapbooks and folders are a thing of the past, we keep our collections and aspirations online and on our phones. The reference photo of Jess was initially a screenshot from Instagram, saved on a phone from 2015. 

Ruth Duffy – Shroove Lighthouse, 2021, textile print and stitch

“Shroove Lighthouse” an Inishowen icon has been printed, patched and Kantha stitched onto a tray cloth and then mounted onto an old wooden tray. 

Catherine Ellis – Pot of Gold, 2023, sculpture

Pot of Gold – I have cast an old chamber pot in soap, my aim was to subvert normal associations attached to this object. I have used pears soap for its colour and translucent qualities, also the strong smell it emits.

Sophie Fitzpatrick – Sunflower, 2023, mixed media

Sophie’s work aims to spark imagination transporting the viewer to a romantic dreamscape where nothing is too much. Her paintings exist free from expectation and perfectionism leaving room for authentic human expression. Lead by intuition, her work has a childlike quality, with evidence of the process intact. There is an intentional unfinished quality to her work. It allows the painting to become a shared experience continuing in the mind of the viewer. With growing concern surrounding the rapid evolution of technology/artificial intelligence and the threat it poses to creatives, she hopes her work can be an antidote to this fear. Her work aims to demonstrate the importance of the sacred creative process, serendipitous mistakes, the energy transmitted and the humanness of art.

Michael Friel – Buncrana Castle, 2023, pastel on paper

From a series of pastel works depicting local scenes from Buncrana , showing the cultural heritage at our doorstep  for us all to enjoy. 

Seamus Gallagher – Night Shore, 2023, Monotype 

For the past number of years Seamus has concentrated primarily on the light and weather of the coastal areas of Donegal for my subject matter. However, the majority of my works tend not to be site specific, rather are created more from memory and imagination. While I generally work with oil paint, more recently I’ve returned to producing monotypes which appeal to me with the immediacy of results, as well as the openness of experimentation in terms of mark making. In my work I respond to the landscape in an intuitive and instinctive manner, using paint as a means of creating and transforming that which I know, see, and feel.

David Gepp – St. Geronimo Contemplates a Different World, 2023, Unmanipulated A2 colour photograph (pebble of Lapis Lazuli on Kindle screen), Felix Schoeller archival matte paper + Epson Ultrachrome HD ink;

Unmanipulated inkjet prints echoing the notion that, ‘Outside the box, inside our dreams, we are vortexes of imagination in perpetual motion’.

Éadaoin Glynn – Treasure 6 

Tessa Graham – Crowberries, 2022, medium format digital print

Spruce Tips is the first photo in the photo series “Home as Place, Home as Pattern”. These photographs examine the relationship between memories in liminal places and explore ways of engaging with the natural world through the process of foraging. 

Alison Hancock – She Sells Seashells, 2022, blown glass

Work in progress, moving through different notions of grief rebirth to be of the earth & sky & returning to the ground. Using different mediums, at times, only that which is immediately available to us. Recycled life.

Kevin Harkin – The Elephant 2023, Metal frame and foam coating. 

The African elephant, Big, strong powerful social animals. I designed and built single handed with the idea that Ireland needs a mobile elephant sculpture to help highlight a few white elephants, elephant in the room topics. 

Josephine Kelly – The Way Back 2, 2023, oil on paper

My work is a visual diary of transient fleeting encounters within my local landscape , snatches of colour and light built up over months , Walking the landscape is an integral part of this process captured through drawing and studies in oil 

Vincent Kelly – Inchydoney Beach, 2022, oil on canvas

Inchydoney Beach, This is a place of significance to me as its vast wide open expanse reminds me of being grounded in nature, enabling me to disconnect from my otherwise material artificially constructed surroundings.

Paul Kerr – Reborn, 2016, oil on canvas

This painting speaks of the new life that can come from change. Sometimes it is forced upon us, other times it comes from honestly looking at ourselves. 

Caroline Kuyper – Yarns, Yearning and Yelling for Change, 2012-2023, yarn from charity shops and friends’ donations, 

I use woolly yarn bombs, knitted and crocheted, and hang them in public spaces,together with wee messages  to raise awareness of the big issues of our time. Using creativity for social and ecological change is about the power of craftivism! The juxtaposition of colourful, bright pieces which attracts people to take a closer look, then spotting and reading the accompanying often hard hitting messages is my way of trying to raise more awareness and stimulate action.

Sarah Lewtas – Untitled, 2023, assemblage

Small spider-like form covered in eyes. What is it’s purpose? Is it benign? Is it malevolent? Is it communicating with others or is it alone? Perhaps it’s afraid.

Diane Magee – Better Together, 2021, Acrylic on linen

This painting was inspired through research for the Irish Centenary. While I was making the drawings I started thinking about colours and immediately settled on bright pink for the background. I chose the pink background to represent how inclusive Ireland has become – from gay marriage to repealing the 8th. When it came to the uniform, I began painting in the traditional uniform green but then thought of the Johnny Cash song 40 shades of Green. This also helped me decide on the composition, limiting it to 40 figures. This song is inclusive and looks at the entire island. From Donaghadee to Dingle. There isn’t one kind of Ireland, there are multiple types of nationalism in a modern Ireland. 

Maura Mason – Swimmer’s Selfie, 2022, acrylic on canvas

John McCarron – The Ballymagan Faeries, 2023, Acrylic/Oil on canvas 

Aidan McCardle – Doubt Allows a Consideration of Other (performance)  2023, Charcoal and body on Cartridge Paper mount with Bulldog Clips on pins

Improvised Performancedrawing Bodytrace using body and mark making to investigate, consider, navigate, traverse subject matter, questions, dilemmas. The artist is placed within the dilemma, subject to the question, an element within the subject matter, ‘folded in’. Doubt allows a consideration of other.

Martha McCulloch & Rebecca Strain – Moving Through Place, 2023, photography, text. 

Martha McCulloch, We’ll go no More a Roving, 2023, altered boot

Lisa McGill – She Loses Herself, 2023, oil and pastel

A coastal artist, Lisa’s work is informed by the power of the sea on our minds, our consciousness, our physicality. She paints as immersively as possible from the edges of an island off Donegal. More recent work is in the freeing exploration of the deep plunge of the swimmer. 

Heather McLaughlin – Road Less Travelled, 2023, acrylic on canvas 

I used to have a recurring dream of driving on a long, winding, Irish country road. Living in America at the time, I never believed it would one day be reality. We all travel the same roads but choose different paths. Do we take the path the majority follows? Or do we take the road less travelled? We don’t know where the road will take us, but the journey is beautiful. 

Aisling Monds – Liminal, 2023,  Acrylic and Mixed Media on Canvas 

This piece is about recovery, and resonates with the theme of ‘what we can do’ in regard to managing transition and change. The artist believes spiritual grounding and healing can occur in the liminal spaces where water meets sky and land, that such places can offer an encompassing space where psychological transition is possible. Aisling’s work aims to convey that liminal process, to reflect a sense of transition and hope by working between abstraction and figurative processes to try to capture the untangling and soothing of an unravelled mind.

Annemarie Murland – Pope Joan II, digital photography, gold leaf and oil paint, A3

This interdisciplinary and intergenerational digital portrait produced over a period of 23 years retells stories of the past in the present. Informed by ancestral memory, the imagery captures my movement through time and place, paying homage to the women in my life. At the same time, the portraits display a history of gang-slang that is etched into the photographic strata, reimagining the idealised religious and cultural signs and symbols that are embedded in the work.

Hannah Pidkaliuk – Two Eyes are Too Few to See

Hannah Pidkaliuk – House|Phoenix, 2023 Repurposed material from the original building and driftwood 

I am Hanna, an artist from Ukraine. I would like to introduce you to an art project that holds a deep emotional connection for me. On this site, a building had stood for decades, its presence a testament to the passage of time and the resilience of human creation. However, like all things in life, it was not eternal, and the relentless forces of time and the elements eventually brought about its destruction. Upon encountering this building for the first time, I felt an immediate emotional bond, as it mirrored the fragments of my own past life that had been shattered and lost. Through this connection, a powerful realisation emerged – that from the ashes of devastation, something beautiful and new can arise.

Emma Porter – Perch, 2023, wooden frame and wire embellished with recycled material

A florists, a sculptor I am not. But in May ‘23 with friends, flowers and an abundance of community spirit I was briefly both. With Michael’s vision and Ronnie’s craftsmanship we created a beautiful floral peacock for the spectacular ‘Spark to a Flame’ flower festival. ‘Perch’ is a homage to the friendship and community and the delightful experiences our joint creativity can nurture and inspire.

Matty Porter – Untitled, 2023, monotype

Each unique piece showcases the evocative beauty of nature through the timeless medium of monotype printing. The monochromatic palette adds a sense of simplicity and depth, emphasising the intricate textures and delicate details of each tree’s form. 

Nina Quigley – Somewhere a Small Boy is Playing in the Sun, oil and soft pastels on board and paper.

Fiona Rainey – Lay Lines, 2023, oil on canvas‘Lay Lines’

Where do we belong ? Is it important to have a feeling of physical connection or is the emotional, ethereal place enough ? Becoming synchronised with the Lay Line.

Jacqui Devenney Reed – Mica effects in Donegal Homes

Carmel Reynolds – Bluebells and Wild Garlic, 2022, Oil on board 

Inspired by the natural world Carmel paints in oils but is always exploring new possibilities. She is especially drawn to the wonder of the ordinary. 

Erin Rodden – Plant Swap, Collage, 2023,

For this exhibition I have created two collage pieces using old magazines and newspapers. The work explores our relationship with the natural world using humour and surreal imagery.

Liam Rodden – WILLIAM the Shed- Lake Tadpole

WIlliam the shed, tadpole lake. Is one of series of william the shed stop motion/mixed media films Liam has been experimenting with while also writing the score. n.a.

Amy Roddy – Bundarella

Sinead Smyth – SPREEKKAMER, 2023, photograph, two waiting room chairs Photograph 

‘SPREEKKAMER’ requires a call and always a response. Sometimes that response is simply the presence of another human being or perhaps a cat.  The considered act of being present, listening, maybe asking a few questions (spoken or unspoken, in any language), giving weight and recognition to the story, the ideas and opinions, the life of the other being as they sit near to you.  Conferring is encouraged. Agreement is not necessary.  In this small space, with or without words. ‘SPREEKKAMER’ is an invitation to just sit with yourself, or another being, for a while…and see what happens.

Patricia Spokes – Patricia’s Girl with a Pearl Earring

Deborah Stockdale – In Plain Sight, 2023, mixed media (collage and paint) 

Blending and merging, from dreams to image to form, Deborah’s work is a combination of colours, textures and abstract forms; paintings and paintings overlaid with collage.

Caoimhe Stones – Technologically Isolated, 2022, film,

Technologically Isolated is a short fine art film, performed and directed by Caoimhe Stones and filmed and edited by Philip Steele. It is based around the concept of using technology as a coping mechanism for loneliness. It follows the character as she goes through the stages of addiction, losing her identity bit by bit with her techno vice. Humans are known to bargain their way out of dealing with emotional pain using substances, what will be the result of that through technology? 

Geraldine Timlin – Ashley and Jenny ( Inuit Throat Singers  performing together for the first time) Quidi Vidi,  Newfoundland, 2022, C-type photographic print

Connection is an intrinsic human need; those we form from our cultural identity profoundly shape our individual belief systems. Inuit traditions, whilst seeming significantly different to Irish culture, share a commonality of story and song, indigenous cultural rituals and deep-rooted links to the land and sea.

Tanya Tsarina – My Guernica, 2023, collage

The subjects of these collages arise from my personal flashbacks and tell the story of a civilian in a besieged city, in the epicentre of fierce fighting. Although my works cannot be called cheerful, they help me to return to normal life – through them I express the pain of what I have seen personally, as well as the pain that accompanies millions of Ukrainians every day. These collages help me to keep the memory of what cannot be forgotten, to live through traumatic events in an ecological way, and to realise how much resilience and vitality I have in me.

Rikki Van Den Berg – I Lost  My Mind But Found My Soul,  2022, Mixed medium on mounted canvas 

This is part of a series which aims to be a testament to the indomitable spirit of women who confront their depths and rise again with newfound strength and wisdom.  Women radiate resilience, unwavering determination and bravery in the midst of challenges.

Susan Walsch – Lilac Breasted Roller, 2023, Photographic Screen Print 

Susan Walsh is an abstract artist living in Donegal, Ireland. She has exhibited locally, nationally and internationally. ‘Making art is a spiritual meditative experience for me, where I delve into the space of infinite creativity and possibility. It is a retreat from the noisy chaotic world around me where I attempt to make sense of things and explore the vortex of the infinite mind’.