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Tadhg McSweeney
Edifice Complex
contents
Edifice Complex Aidan Dunne 6
At Variane Carissa Farrell 11
Interview Eamonn Maxwell 15
Edifice Complex Eamonn Maxwell 23
Edifice Complex Images 31
Artist Biography 47
Colophon 49
Edifice Complex
In his book of essays The Birth of the Museum, cultural
theorist and historian Tony Bennett takes Michel Foucault’s argument that
institutional structures in society are a means of exercising power through
shaping, controlling and possessing human subjects, and applies it to the
development of the museum. The whole apparatus of display, or what he
calls “the exhibitionary complex”, is, he suggests, subtly but significantly
implicated in the ongoing, competitive and unstable system of power
relationships that is intrinsic to society.
In his exhibition Edifice Complex, which is effectively one
continuous installation, it is as Tadhg McSweeney is setting out to visualize
an exhibitionary complex. Rather than simply situating a number of
discrete, notionally autonomous works within a purpose built gallery
space, McSweeney’s project takes the form of an open-ended dialogue,
not only with its architectural setting but also with its cultural role and
with conventions of representation, display and perception.
The fact and the idea of the frame are central to what he
does. Frames abound in his constructions, offering a continually shifting
succession of prospects and arrangements. The frames literally make
pictures for us, they are a means of isolating and ordering groups of
elements within the wider spaces. But, and not for the first time in his
work, he has conspicuously broken the contract between frame and
image. Jacques Derrida famously proposed that the presence of a frame
indicates a lack in the notionally closed system of the painting it surrounds.
McSweeney has emptied out the closed space of the image and opened it
up to contingencies of viewpoint.
Edifice Complex | Aidan Dunne6
While the materials that he employs, workaday and often
recycled, underline the fact that frames are constructions, the wider
implication is that they are also constructed metaphorically. The level
of analysis that we apply, to borrow a phrase from Stephen Pinker, depends
on our inbuilt ways of framing what we see. In this and previous bodies of
work, McSweeney consistently posits a fatal slippage between the residue
of history and utopian planning. Even as his work alludes to idealized
potentialities, it is drawn back to its own inescapable inheritance. We live
in a fractured world.
It is not clear that he views the culture of representation and display as
being as coercive as does Bennett, but there is no question that he
profoundly distrusts and aspires to rethink it.
Aidan DunneJanuary 2013
7
‘At Variance’
Tadhg McSweeney had an exhibition at the Kevin Kavanagh
Gallery in 2010, Portmanteau, where his paintings stepped out of them-
selves and moved on to the gallery floor. They seemed to autonomously
take on a three dimensional form. Each piece was as unpredictable and
inconsistent with the next, made up of its own mish mash of odd things
that McSweeney intuitively put together. The floor pieces matched the
untidy daintiness of the paintings perfectly. Bringing this kind of delicate
balance from a modest gallery space to the Main Gallery at VISUAL would
seem, well, inconceivable, but just as in Portmanteau, it appears that
McSweeney cultivates his work like plants, rather than construct them to
a predestined design. A little bit magical, his role as creator is invisible
but his presence as the artist is indelible.
The grand metropolis at the end of the Main Gallery is the hub
of Edifice Complex. It forms both a centre of gravity that stabilises and
determines the placement of the other structures and a kind of grand
destination, like the city skyline from a distant motorway. Visually it is the
most cinematic, like a personal wish for a new futuristic civic order - the
kind we might recognise from films like Blade Runner, Metropolis or Star
Wars. Top-heavy buildings and strange platforms balance on tall plinths.
At the bottom a more recognisable city bustles with buildings, roads,
monuments, and all the components of urban civic life. The arrangement
camouflages the humble origins of the materials to create a mirage - a
make believe city scape made from other peoples cast off stuff.
One particular structure has an uncertain antropromorphic
quality. Appearing as though it has shuffled into position it bears a slightly
ambiguous presence. It waits as though it is ready to be mobile, even
‘At Variance’ | Carissa Farrell 11
hostile. Like a Dalek or Triffid it might exterminate the guardians standing
nearby and advance on the Metropolis. The possibility of narrative in
this installation is limitless. It invites an infinite and diverse exploration
of the viewer’s internal imaginative reserves and indicates an artist who
is generous, modest and not afraid.
It makes you think a little differently about how we shape the
world we live in and how it differs so dramatically from culture to culture.
In Ireland, we sprawl from the city and disperse into the countryside,
whereas in Spain people are condensed onto small geographic urban
areas. Shapes change from landscape to landscape and borders
demarcate a fast pace of changing house styles. Abraham Maslow forgot
to include design when he famously identified shelter at top of his
hierarchy. The history of civilization centres so much on architecture
that it seems a crazy omission to have made. McSweeney’s Edifice is a
cacophony of every reference to architecture that we might excavate
from our memories of school, books, holidays, movies, TV etc…
Untidy but not arbitrary each structure and the overall
configuration is quite deliberate and delicately balanced. The austere
Main Gallery has sharpened the linear forms which heretofore had
seemed a little smudged - a quality that survived the transition from
McSweeney’s painting to his three dimensional forms. He sets up view
finders and frames so as to direct us as to how he wants us to look at
his world. He imposes a consideration of spacial configuration which
we might otherwise overlook. In the tradition of Casper David Friedrich’s
paintings, like the Sea of Ice, or the Wanderer above the Sea of Fog, he
draws our attention to the wonders of depth of field and the drama of
composition. Intimate details loom near against the tall and elegant
edifices hovering far away. He captures the sense of being made tiny
by a miniature magnificent landscape. In a wonderful and playful way
McSweeney’s installation makes you want to be two inches tall so that
you can experience his world to its true scale.
McSweeney constructing this giant miniature reminds us of
the game of making, using old bits of wood, plastic, netting, wrapping,
12
cardboard, paint. Like Blue Peter its about finding anything that will
approximate a representation of something from the real world. There is
definitely something comical about creating a work of monumental
architecture in miniature from bits of old stuff. The title of the exhibition
takes a humorous poke at the location of Edifice Complex in VISUAL’s
main gallery. Edifice, is defined by the Collins online dictionary as, 1). a
building, esp a large or imposing one, and 2) A complex or elaborate institution or
organisation. Perhaps Maxwell foresaw some absurdity between
McSweeney’s sprawling and byzantine urban miniatures made from
old rubbish with this pristine and imposing interior that is the Main
Gallery at VISUAL. The inclusion in the Collins definition of edifice as
‘imposing one’ suggests disproportion, or perhaps, a building ‘at variance
with its location’. There is certainly a very pleasing and human irony in
the presence of McSweeney’s own idiosyncratic monument in the
midst of such and earnest and critically acclaimed architectural jewel
that is VISUAL.
Carissa FarrellJanuary 2013
13
Interview
Eamonn Maxwell (EM): Let’s begin by talking about your decisionto attend art school in Dublin. What made you choose National
College of Art & Design (NCAD) and how did your degree there
begin to shape your practice?
Tadhg McSweeney (TMcS):My parents both being from Dublin, itwas always pretty familiar to us. It was midway into leaving cert year
when I really started to consider going to art school and NCAD was
the main place where everyone wanted to go. Architecture had been
the only other thing I was really interested in doing. I took time out
from school to work on a portfolio. With great advice from my father
I painted and sketched my brother’s cattle, the hens and ducks at
home and the woods in Lissadell, Co Sligo. It was a lovely time, when
I should have being studying I was out in the landscape making work.
It was really exciting getting the offer of a place before sitting the
exams. It made it a much less stressful experience.
In second year at NCAD, I went into the painting department. Early on
there was a project where we were asked to bring in things of personal
interest from which to work. I just kept bringing in stuff and became
interested in arranging and assembling objects and images on the wall.
That was an important point. Alongside studies, photographs and
fragments from the city, I would bring back objects found on the beach
from weekends home in Sligo. My degree show presented a series of
mixed media tableaus representing fantasy landscapes with some
kinetic elements.
Interview | Tadhg McSweeney with Eamonn Maxwell 15
EM: So how important is that Sligo heritage and does it continue
to have any resonance on your work?
TMcS: There are a couple of fragments found on the beach formingpart of some of the small pieces in the exhibition. I have held on to
them for years, bringing them with me through different studios, a bit
like relics, alongside more current finds, in the hope of finding a use
for them.
I suppose the memory of home, in particular the landscape and the
freedom and sense of adventure we had. It’s a very beautiful and
dramatic place. You have the strange shape of Benbulbin as the
backdrop and a fairly flat land rolling to the sea. You're right on the
edge of the Atlantic. It's brighter, the weather comes in from the sea
and the sky can change so quickly. It can also be harsh and bleak
with violent winter storms. There is a small monastic island,
Inishmurray, which sits just that far off the coast, depending on
conditions it can seem to disappear. When we were younger there
were the remains of a watch tower, which would have been
constructed during wartime, commanding views over the approaches
to Sligo Bay. Nearby was a small cove with sheer cliff walls known
as 'Smugglers Cove'. Beside that is the 'Golden Strand', a stretch
of sandy which even on the hottest summers days you could have
to yourself.
EM: Clearly nature, in particular the sea, has been an important
influence on your practice. Was the idea of adding things found
in the landscape a way of trying to break away from the traditional
boundaries of painting?
TMcS: It is there as a motif in much of my work. I am interested inthe intersection of the natural and the man-made. It's never a
particular landscape or architecture; but fictional spaces that act
as devices for memory.
16
The found material mirrored an interest in surface detail and history
that I pursued in my painting. Working a painted surface, quite
thinly, building up layers and taking away, until a suggestion of an
image and idea of a direction emerge. My work has always traded on
the accidental or chance, the found object with its ready-made
surfaces, colour, and history of use and its potential for reinvention.
For a long time I enjoyed the positioning of sculptures alongside
paintings. Gradually they have been coming closer together, to a
point now where I have been cutting up the two dimensional
surfaces. Parts of paintings, frames and canvases are intertwined
with found and close to hand material.
EM: Since graduating you had been exhibiting quite a lot, but inthe past two years you’ve been out of the public eye, as it were.
What’s been happening in that period?
TMcS: I have been working away steadily. My exhibition in Visual wasoriginally to take place about a year ago. I didn’t commit to anything
as I was always working toward this exhibition. The pressure of a
deadline is important, but equally a period of total freedom to
experiment and make work and have time to let it settle. It has been
a vital time to me in terms of pushing the work on. This was also an
exciting time in my family life with the birth of our two children, Luke
and Eva.
EM: When you relocated to Carlow did you ever foresee having a
major solo exhibition in the town?
TMcS: No. It all happened in a nice way, one thing leading to another. In 2005 I was invited by Paddy McGovern to show in Éigse
Carlow. I met my wife to be, Maeve and I moved to Carlow in 2009.
Carissa Farrell invited me to show in the first exhibition in Visual and
17
18
I built an installation on the stairwell and landing on the approach to
the digital gallery. In 2010, Visual put me forward for the AIB prize
and this led on to the offer of the show. It’s a great honour now to be
presenting a solo exhibition in the main space and link gallery.
EM: As you say it’s a great honour to be showing in the amazing
spaces at Visual, though I also imagine a little daunting. How
do you begin to think about taking on these galleries and the
challenges they provide? Have you felt the pressure to fill the
architecture or to break apart your practice to deal with the
challenges posed?
TMcS: Yes, I have to admit it has been a little daunting at times and Ithink it was this challenge of scale that I wanted to play with. As it
developed, I began to conceive my own architecture like a space
within the space. I wanted to obstruct and alter your initial view from
the main doorway and invite you into a new architecture to explore. I
wanted it to remain as light and open as possible while at the same
time it would form an enclosure. While I was building this Babel-like
thing bigger and taller, I felt it also retained a feeling of intimacy and
it struck me it was like a shelter or refuge. I was attempting to brake
it all down to my own scale and with that invent new ways of framing
the space and landscape of objects I had assembled in it.
The main view is a panoramic window looking out onto an arrange-
ment of elements in the far half of the gallery, with a large island of
constructions in the distance. I set up several other views. Controlling
these was a way of setting them up as idealised views. On leaving the
main structure and going “outside”, you can navigate the sculptures.
Some are at eye level and are framed against the wall. The large
arrangement on the floor of the space can be surveyed from above.
Early on I made the decision to continue making small scale work. I
didn’t want to just start scaling things up in reaction to the space. I
19
became consumed with making these fictional urban and industrial
landscapes which I was pushing together to form bigger units. These
were to form the heart of the show around which the space was planned
and set out.
Looking back at the large structure it could be a blown up section of a
smaller piece. It was never a case of feeling a pressure to fill the
architecture, but rather finding an interesting balance or relationship
with the various scales and perspectives from the floor to wall to sky.
This logic continues out to the link gallery. It's a really interesting space
with the long window, backdrop of water and the concrete all around. I
started to piece together a machine, using bits of old tools and materials.
It interacts with the space, trundling and clanking up and down the
length of floor like a moving edifice on wheels.
EM: In preparing for the exhibition you spent a few months working
in a vast retail unit on the edge of Carlow, with a similar floorspace
to the Main Galleries at Visual. You’ve had to reimagine your studio
practice and bring everything into that building. How does such a
method of working impact on the work?
TMcS: It was fantastic to have this space to work with. I arrived with the guts of the show and I was able to arrange and put the whole thing
together. Bringing the work from quite a small studio, I now \had an
ocean of space to approach, walk around and work out relationships
between pieces. It also meant I could build the larger elements. It was a
funny atmosphere working in this vestige of the boom. It’s one of several
in this big commercial development that have never been utilised since
completion. It was interesting in relation to the structures I was making
for Edifice Complex. Having that level of space as a studio is really quite
liberating and gives you the freedom to tackle elements of scale.
20
EM:When we first spoke about Edifice Complex it was evident to me that you were on a path away from wall based, two-dimensional
paintings which have always existed alongside the sculptural works.
What prompted that decision?
TMcS: It was really a natural progression and a follow on from work I had made for a previous exhibition with Robert Armstrong and Mark
Swords called 'Building Sights'. Approaching this show as a total
installation, I felt the break from three-dimensional to the two-
dimensional just wouldn’t work. Everything in Edifice Complex is
constructed yet I'm still very much referring to painting with the
framing of things and the flattening of space. You're expanding out
layers of a picture in physical form and still trying to hold on to the
emotional space of a painting.
EM: How do you think that progression will be perceived by theviewer? Do you think they will still see the reference to painting?
TMcS: I don’t know…as progress I hope. I think it’s important to
push as much as you can and especially in a space like Visual. At the
same time it is also important to remain true to yourself and the work.
For me it is firstly an investigation of your own curiosity and way of
seeing. Although I'm framing different ideas and attempting an overall
construction, I want it to be as open as possible. People’s different
reading and reactions make this worthwhile doing.
EM: It’s common for artists to be given a tag for a particular
method of art production. With Edifice Complex do you feel
you’re now more likely to be termed an installation artist?
TMcS: I approached it in that way, as a big installation offering a different way of seeing the space and the work within it. However much
of the work is constructed in a self-contained way. Pieces I refer to as
21
sculpture, others might categorise in a different manner. At the
moment my son Luke calls everything I do painting. It’s really
about the development of your own language through which to
communicate. Central to what I do is an unwillingness to commit
to definitive definitions.
EM: So, to conclude, I want to explore how the process for this exhibition and the exhibition at VISUAL itself will influence
your practice. What do you feel the legacy of Edifice Complex
will be?
TMcS: The big thing about this show has been the logistics. I'velearned a lot about managing time. At the outset I thought it might
affect the way I make work, but essentially it hasn’t. Working on this
show has made me think about making sculptures outside and for
public places. I'd like to explore some temporal elements using
permanent materials. As regards legacy? The show hints at immortality
through buildings and construction. Exhibitions come and go, buildings
come and go, cultures come and go. For the moment I hope lots of
people come to see the exhibition and get something out of it. It’s
lovely to have it recorded with this catalogue.
Edifice Complex
‘A legacy so far removed, one day will be improved. Eternal rights we left behind, we were the better kind’. Means To An End, Ian Curtis
A relatively recent term, the edifice complex is normally used
to describe an attempt by an individual who holds a public office or an
organisation to commemorate their own legacy through architecture.
This term, seems to encapsulate much of what transpired in the building
boom Ireland experienced from the mid 1990’s through to 2008.
For his Edifice Complex Tadhg McSweeney has created a
series of sculptural moments that act as a cityscape. We encounter
discarded, recycled or unwanted pieces of ephemera that McSweeney
has fused together to create new forms. Many of these materials could
have readily been used in the construction of new buildings, yet in the
context of an exhibition they take on an air of melancholy as if reflecting a
tragedy - traces of a once promised gleaming future that is now little more
than interesting debris. Amongst the components that one discovers in
Edifice Complex are off-cuts of scaffolding pipes, redundant battery drills
and shards of broken glass, items that can normally be found on building
sites. McSweeney is consciously aware of the element of chance – insofar
as he begins each piece with no definitive sense of how the piece will
look on completion, taking many forms along the way. Combining these
materials he is seeking to deconstruct his practice, to make new possibilities
beyond the confines of traditional two or three dimensional works.
McSweeney spent much of his childhood in Sligo. Whilst never
overtly referencing that landscape, it has played a crucial influence on his
practice, especially the flotsam and jetsam left in the wake of the turbulent
weather that the West of Ireland is subjected to. The objects that he has
Edifice Complex | Eamonn Maxwell 23
found and subsequently incorporated into his work act as relics or
historical artefacts, even if that history is relatively recent.
For the past decade McSweeney has been exploring the
confines of the process and presentation of painting and how to move
beyond traditional wall based canvas, whilst still operating within the
parameters of painting practice. With this exhibition, wall based paintings
have been abandoned completely – instead we see the remnants of
older canvases that the artist had discarded, now presented as part of
a three dimensional construct. The relationship between sculpture and
painting within Edifice Complex is blurred and uneasy. On one hand
these works are purely sculptural, as they present a set of ideas as
standalone objects that can be physically navigated. And yet, the
influence of painting is pervasive. From canvas fragments, through to
pieces of frame or backing board, McSweeney is using his experience
of painting as an artist and a viewer to confuse these artistic boundaries.
He has determined the viewpoints that the visitor will have, through
the use of structure and framing. A phrase that came about in early
discussions was how this exhibition functions as “a landscape of objects”,
referencing the dual histories of painting and sculpture. Throughout the
exhibition McSweeney uses frames, either discarded from older paintings
or newly constructed using abandoned pieces of wood. These frames
are the carcass of the first structure one encounters, as if acting as the
skeletal constitution of the exhibition. Are we witnessing the remnants
of an architectural jewel that has been forsaken, left stripped, eerie and
ghostlike? In other parts of the exhibition the frame is used as a tool to
control the view of the visitor –these vistas create new perspectives and
possibilities, a clear reference back to McSweeney’s roots in painting.
Since his degree show in 2001, McSweeney has been
interested in the use of kinetic energy. By coincidence, 2013 marks the
centenary of Marcel Duchamp’s Bicycle Wheel, widely considered to be
the first piece of intended kinetic sculpture. Duchamp’s iconic sculpture
utilised found materials in the same way that McSweeney composes his
work, though he does add motorised elements to make his sculptures
oscillate, rather than relying solely on human intervention. A century on,
24
it is clear that the propositions made by Duchamp on the use of
mundane materials, not precious substances, in the production of art
still resonate with contemporary practitioners. In the Link Gallery of
VISUAL that legacy lives on in the form of a Heath Robinson style
contraption that slowly moves along the length of the space. Powered
by wiper motors, motion sensors and electrical generators, this sculptural
piece owes a debt to the pioneering attitude of Duchamp but also makes
manifest the interest that McSweeney has in creating new from the
rejected. The two vehicular components seem fragile, on the point of
self-destruction, but somehow they continue to function. These
embryonic machines appear on a collision course until repelling each
other at the minute, before beginning another cycle of movement. The
absurd made real.
For this exhibition McSweeney relocated his studio to a
disused retail unit on the edge of Carlow town. With a footprint similar
in scale to the main gallery at VISUAL, he was able to accurately plot
his sculptures as they would appear in the actual exhibition. This retail
unit was built during the construction expansion of the last decade, yet
has lain unoccupied since its completion. With no heating and only a
small amount of industrial lighting this temporary studio was a harsh,
solitary environment for McSweeney. A sort of artists’ garret for the
21st century. Using a studio space that mirrored the dimensions of
the gallery allowed for a more rigorous and challenging approach to
exhibition making, in a way that working in a regular sized studio may
not have afforded. He did not have to wonder how the pieces would
come together collectively. Instead he could predict the relationship
between sculptures, audience and architecture in a cohesive manner.
The architecture of a gallery is of paramount importance to
an exhibiting artist. It poses many questions about the creation of
works, how these works are installed and how an audience will engage
with the exhibition. Designed to rival “its contemporaries in New York,
Berlin or Tokyo in terms of its scale and contemporary architecture”,
the galleries at VISUAL are capacious, perhaps even overwhelming.
McSweeney has actually worked on technical aspects of exhibitions at
26
the building since its inauguration, so has a very good understanding of
how the architecture of this particular building functions, how it can be
manipulated and also how audiences tend to navigate the exhibitions in
each gallery. He knows what works in these galleries and what is less
successful. But this exhibition is not intended to be a comment on
VISUAL. McSweeney is, however, interested in the dialogue between a
building and the exhibition therein, perhaps even to negate any sense
of the edifice complex in relation to this gallery. Like many artists
McSweeney is not endeavouring to ignore or be overwhelmed by the
architecture of the white cube. “We have now reached a point where
we see not the art but the space first”, Inside the White Cube, Brian
O’Doherty. McSweeney is attempting to generate his own scenery. He
has decided to break the galleries into a series of smaller structures
that teeter on the intersection between sculpture and architecture.
This intersection with it hints at transparency and openness is clearly
carefully controlled by the artist.
Edifice Complex creates a sense of journey as one passes
through the exhibition, in a way that one might navigate a city. From the
point the viewer enters the gallery, McSweeney has crafted moments of
revelation to entice and confuse – landscapes framed as vistas, old
paintings reimaged as slivers of roofs, works obscured by skin-like
materials. It is only by experiencing everything that one can understand
the totality of the artists’ endeavours to marry the gallery with the work.
Along the way one is presented with metaphors of things past and things
yet to be. McSweeney is asking the audience to walk in his shoes, to see
the recession as a time to build something new out of things discarded.
It may be precarious and confusing to begin with but, given time, it will
be rewarding.
Ultimately this exhibition asks as much of the artist, as it does
of the viewer. By questioning the essence of his practice - the relationship
between painting and sculpture - and the expectations of an audience,
McSweeney is trying to find a new language for himself. Abandoning the
formal traditions of artistic conventions, this exhibition is perhaps acting
as a voyage for the artist as he seeks to redefine his work. There are
27
signs as to what that might be in the form of projected light, works outside
the confines of the frame and landscapes that appear to visions of a post-
apocalyptic future. This new edifice that McSweeney is working towards
is indeed a complex one, but one that is not based on narcissism. It is
ambitious, yet modest and within that subtle association that wonder will
be revealed.
Thank you to the following for making this exhibition and
publication happen. Emma Lucy O’Brien and Hugo Jellet from Visual.
Kevin Kavanagh. Aidan Dunne and Carissa Farrell for their generous
and insightful texts.
Finally, I would like to thank Tadhg McSweeney for bringing
this exhibition to life and for being very open to my suggestions over the
past few months.
Eamonn MaxwellJanuary 2013
28
Edifice Complex
Biography: Tadhg McSweeney
b. 1978 Dublin, Ireland. Lives and works in Carlow.
Education1996 – 2001 National College of Art and Design, Dublin
ExhibitionsSolo
2010 Portmanteau, Kevin Kavanagh, Dublin2009 Generator, VISUAL, Carlow2008 Overworld, The Lab, Dublin 2007 What Remains, Sligo Art Gallery, Sligo 2006 Break-in at the museum and other paintings, Kevin Kavanagh, Dublin 2004 New Paintings, Kevin Kavanagh, Dublin
Collaborative Projects2007 Iveagh Rooms, This is not a shop, Dublin with Alan McMahon
Group2010 Building Sights, Kevin Kavanagh, Dublin
Something tells me it’s all happening at the zoo, Kevin Kavanagh, Dublin Éigse - 30 Year Retrospective, VISUAL, Carlow
2007 Line, Red Stables, St. Anne’s Park, Dublin The BiG Store, Temple Bar Gallery & Studios, Dublin Thirty Two Thousand Years Later, Pallas Contemporary Projects, Dublin Group Show, Kevin Kavanagh, Dublin Boyle Arts Festival, Boyle, Co. Roscommon
2006 Seven Irish Artists, Load of Fun Gallery, Baltimore, USA Waves, Sligo Art Gallery, Sligo
2005 Invited Artist, Eigse Carlow, Carlow 2004 Boyle Arts Festival, Boyle, Co. Roscommon 2003 Blink, Mayo General Hospital, Castlebar
Group Show, Sligo Art Gallery, Sligo Painted, Signal Art Centre, Bray, Co.Wicklow Painted, Bank of Ireland Art Centre, Dublin
2002 Six - New Irish Painting, Orchard Gallery, Derry Painted, The Linenhall, Castlebar
2001 Group Six, Rubicon Gallery, Dublin
Biography | Tadhg McSweeney 47
VISUALPublished by VISUAL Centre for Contemporary Art
and The George Bernard Shaw Theatre
Old Dublin Road, Carlow, Ireland
www.visualcarlow.ie
Editors **********
ISBN 978-1-907537-08-0
Exhibition Credits
************
************
************
************
************
Photography
************
************
Catalogue Design and Production
Tom Feehan at Dynamite, Kilkenny, Ireland www.dynamite.ie
Printed in Ireland
Tadhg McSweeney is represented by Kevin Kavanagh Gallery, Dublin, Ireland
Colophon 49
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