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