Exhibition at the Limerick Printmakers Gallery 2013 - Tom Fox Award
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Press ReleaseLimerick Printmakers Studio and Gallery are delighted to present ‘No Diesel’ an exhibition of new work by Rochelle Lucey. The show will be officially opened in Limerick Printmakers Studio and Gallery Ltd. on Thursday 2nd May at 8pm and runs until Saturday the 25th of May.
Rochelle Lucey is the receipient of the inaugural Tom Fox Exhibition Award, a bursary kindly provided by the Fox family to commemorate the Limerick based painter Tom Fox’s untimely passing in September 2010. A prolific artist, he exhibited extensively both nationally and internationally. This award was created in his name by the Fox family to encourage a graduate painter in the early stages of their career by having a prominent solo exhibition in a well established gallery. Limerick Printmakers Studio and Gallery are delighted to be in a position to facilitate this solo exhibition. Lucey’s work centres around dilapidated abandoned petrol stations, focusing on neglected fuel pumps. These landscapes represent a ‘sign of the times’, forecourts left redundant by the development of by-passes. Family-run stations have given way to larger chains. The title of the exhibition stems from the commonly seen makeshift signs outside these rural garage forecourts stating ‘Sorry, No Diesel’ . There is a strong personal undercurrent to the project, as the petrol stations documented are dotted along Lucey’s travel route from her home in Kerry to Limerick City, expressing ‘a certain solitude and sense of abandonment’. ‘I want to highlight the beauty of the thing which, in many ways, has gone unnoticed in these abandoned objects. My interest also lies in the cracked paint and rusted areas of the old petrol pumps which is something that always stands out for me’. Her painting style utilises palette knives to loosely apply paint to the canvas. Dripping paint contrasts with areas of flatly applied colour to create a variety of surface textures. Colour is integral to these images, with the dark reds and oranges capturing the effect of years of these petrol pumps exposure to harsh weather conditions, resulting in deeply etched rusting. Blues and greens also feature predominantly, capturing the varied landscape along the route. Rochelle graduated in 2012 with BA Honours in Fine Art Painting from Limerick School of Art and Design. She is an acting committee member for ‘Kfest Music and Arts Festival’, a new festival taking place in Kilorglin, Co Kerry. This will be her second solo exhibition, the first of which, entitled ‘The Establishment’ was a sellout. She was artist in residence from 2009 to 2011 in Scoil Mhuire, Killorglin under the Kerry County Council Artists in Schools Scheme. During her time here she worked on large scale art projects with children of all ages. Limerick Printmakers Studio and Gallery Ltd. acknowledges the financial support of the Arts Council. The gallery is open Tuesday to Friday 11am to 5.30pm and Saturday 10am to 4pm and all are welcome. |
Reviews from the Degree show at L.S.A.D 2012
Here are some links to reviews of my work from my Graduate show on the 9th June 2012.
http://a-clear-haze.blogspot.co.uk/2012/06/recessional-aesthetics-in-lsad-degree.html
http://www.eva.ie/lit-lsad-painting (Review Below)
http://a-clear-haze.blogspot.co.uk/2012/06/recessional-aesthetics-in-lsad-degree.html
http://www.eva.ie/lit-lsad-painting (Review Below)
Eva International
Biennial of Visual Art Limerick City, Ireland 19 May – 12 August 2012
ROCHELLE LUCEY
Lucey’s canvases strike a chord with anyone familiar with the history of the live music scene on both sides of the Atlantic Ocean. Her quasi-expressionist depictions of performance spaces, such as the The Electric Ballroom, Electric Circus and CBGB & OMFUG, are executed in swaths of dripping colour and scraped paint. The closed and dilapidated facades, bathed in graffiti, exude a romantic grittiness. Of topical interest, they serve as mementoes to musicophiles and pay homage to a largely bygone era. Regrettably, the unfinished appearance of the largest canvas raises questions. It seems out of step with the rest of the work on show.
John Gayer
The assumption that is made via the repetitive nature of Lucey’s painted imagery of the facades of ’70s British music venues where punk and post-punk bands performed such as The Sex Pistols, The Clash, Joy Division, The Smiths, is the artist is stuck expressing young ideologies that identify with extreme left politics, isolation, authenticity, revolution, the 99% vs the 1% syndrome. Although this nostalgic thematic is perfectly fine to identify with on a personal level, especially when ‘Occupiarian’ talk has replaced the more creative and expressive protest of punk – the medium of painting toward such expressive ends is perhaps out of sync with the times. Photography, the tape cassette, Vinyl, Hot Press Magazine is how I aesthetically filter ’70s punk music and ideology. Lucey’s paintings at times resemble the battered edged tea coasters that you might find on granny’s kitchen table: who may have been a punk in her time.
James Merrigan
Lucey’s canvases strike a chord with anyone familiar with the history of the live music scene on both sides of the Atlantic Ocean. Her quasi-expressionist depictions of performance spaces, such as the The Electric Ballroom, Electric Circus and CBGB & OMFUG, are executed in swaths of dripping colour and scraped paint. The closed and dilapidated facades, bathed in graffiti, exude a romantic grittiness. Of topical interest, they serve as mementoes to musicophiles and pay homage to a largely bygone era. Regrettably, the unfinished appearance of the largest canvas raises questions. It seems out of step with the rest of the work on show.
John Gayer
The assumption that is made via the repetitive nature of Lucey’s painted imagery of the facades of ’70s British music venues where punk and post-punk bands performed such as The Sex Pistols, The Clash, Joy Division, The Smiths, is the artist is stuck expressing young ideologies that identify with extreme left politics, isolation, authenticity, revolution, the 99% vs the 1% syndrome. Although this nostalgic thematic is perfectly fine to identify with on a personal level, especially when ‘Occupiarian’ talk has replaced the more creative and expressive protest of punk – the medium of painting toward such expressive ends is perhaps out of sync with the times. Photography, the tape cassette, Vinyl, Hot Press Magazine is how I aesthetically filter ’70s punk music and ideology. Lucey’s paintings at times resemble the battered edged tea coasters that you might find on granny’s kitchen table: who may have been a punk in her time.
James Merrigan
West Kerry Live Magazine 19th July 2012
West Kerry Live Magazine - publicity for my first solo Exhibition - 'The Establishment'
Takes place in Killorglin, Co. Kerry in the Chapel on the hill, Market street
Starting on Friday the 27th July at 8.00pm - 10.00pm, also open on Saturday 28th and Sunday 29th from 10.00am - 5.00pm.
Takes place in Killorglin, Co. Kerry in the Chapel on the hill, Market street
Starting on Friday the 27th July at 8.00pm - 10.00pm, also open on Saturday 28th and Sunday 29th from 10.00am - 5.00pm.