Gormley’s is back in Charlemont Square (Dublin 2), hosting an impressive exhibition featuring both renowned and emerging names in the art world today. With over 250 pieces on display, I was pleasantly surprised by the variety and accessibility of the exhibition. Entry is free, and no advanced booking is required. Until the 17th of October, you can view iconic works by Banksy, Salvador Dalí’s surrealist sculptures, and stunning style from artists like Gordon Harris and Harry Brioche, among many others.
I understand that “modern art” can make some people roll their eyes, but there truly is something for everyone to appreciate here. In a city with fewer and fewer free days out available, I highly recommend visiting this exhibition.
For instance, while I was walking around, I overheard a young girl approach a landscape by Martin Mooney depicting Lough Swilly in Donegal with loose brushstrokes and a fairly muted colour palette. The girl exclaimed, “Ah now, Mam, I could do that. Just give me some paper!” The comment received quiet giggles from those nearby. However, when her parents pointed her toward Mooney’s flower studies further along the wall, she seemed far more impressed, and her mind opened to the rest of the exhibition.
Upon entering, you’ll find yourself in a spacious room with plenty of space to step back and admire the larger pieces. Gordon Harris has seven large portraits on the furthest wall, all painted in oil on board. His colours are extremely eye-catching, and the closer you get, the more unbelievable the detail becomes—each strand of hair is painted with perfect precision.
In the centre of the room, you’ll find beautiful bronze sculptures by Giacinto Bosco, including a collection of four pieces depicting a man and woman seemingly chasing the moon. The vibrant finishes on these simple figures give them a nostalgic, dreamlike energy. Other sculptures, like Patrick O’Reilly’s charming Irish Wolfhounds and Eoin Turner’s large crystal and bronze pieces (which are particularly striking in the light), are equally worth visiting.
Also in this room, you’ll see Stephen Forbes’ oil paintings, which at first I thought were acrylic due to his blunt, raised brushstrokes and vibrant colours. Each painting is large and depicts simple human figures going about their daily lives. With this kind of work, the figures can sometimes feel stagnant, but Forbes manages to bring movement and life to each one.
Patrick Rubinstein’s reinterpretations of Warhol’s pop art didn’t resonate with me, though others seemed to enjoy them. This brings up a question I often wrestle with when I’m bored by media: Does good art need to be accessible to everyone, or is it on the viewer to meet the artist halfway? I thought perhaps my head was just saturated with work that felt more obvious, so I gave Rubinstein’s pieces a second chance. I still didn’t like them. They feel more like a superficial layer over already iconic art. It brings nothing new to the table other than clashing entirely with Warhol’s initial message, a critical commentary on consumerism and mass production. All I see are flashy visuals for his buyers to gawk at because it’s different to what the other well-to-do buyers have hanging in their hallways. They feel gimmicky and appeals visually but lacks everything else. It is polished but hollow.
There are simply some things that have no humanity behind them; it was impossible to gauge any inspiration or connection with it. It felt like the primary school teacher’s example of what her 10 year old students were going to do in their weekly art class that she made the night before wishing she could just relax with a glass of Malbec. Nothing wrong with that but if said primary school teacher knew they could make over ten percent of their yearly salary from a framed piece of fan-folded premade art I can’t imagine they’d be best pleased.
Downstairs is where the big names are: Banksy is featured on one far wall and covers the pillars, while Dalí and Warhol are sprinkled across the room. Large pieces by Keith Haring are a delight to see, especially since they may be ones you haven’t seen before. Many visitors flock straight to Banksy’s “Girl with a Balloon” print, but what’s wonderful about the layout of this exhibition is how it guides you to discover works you might have otherwise looked straight past. Just five steps from the Banksy and the Haring, you’ll find Harry Brioche’s stunning countryside landscapes. The landscapes themselves are brilliant, but the best part is in the skies—his manipulation of light on the board is unlike anything I’ve seen, reminiscent of a real-life dusk in the west of Ireland during autumn.
Tracey Emin is known for her deeply personal, autobiographical work, and while she initially faced backlash from critics who labelled her work “vulgar and lazy,” she has since become one of the most prominent figures in British art. Her early career saw limited interest from mainstream art buyers, but today, her work is widely recognized and sought after. This shift adds an extra layer of significance to the exhibition, as Gormley’s focus on selling limited-edition pieces like the two prints on display reflects Emin’s evolution from outsider to a major force in contemporary art. Although she is now well-established and has been for several years, it’s notable that Tracey Emin has experienced a rare shift in how her work is perceived during her lifetime—a privilege not afforded to many artists (like Monet, Van Gogh, or Vermeer, who were all labelled “ahead of their time”). Emin, once similarly misunderstood, has lived to see her impact and growing recognition. While the pieces on display at Gormley’s may seem simple at first glance, their context and history add a deeper layer of beauty and meaning.
Peter Monaghan’s hypnotic watercolour pieces on arched paper were particularly attractive to younger visitors, who discovered new images with each step they took. If abstract art is your thing, you’ll appreciate Jenny Belton’s still-life pieces, which carry strong cubist influences. Nearby, Dominic Whisker’s unique hand-tufted wool works hang on the wall to the right of Banksy. Julian Opie also has a piece made of “a series of four lenticular acrylic panels mounted onto white acrylic,” creating a 3D moving effect, where the human figure appears to walk toward you as you move.
At first, I wasn’t entirely sold on these pieces, but with a bit of warming up, I began to understand their appeal. I found this to be the case with almost half of the works in the exhibition, so I would recommend spending between one and two hours there to take it all in. It can be pretty easy to dislike contemporary art, and while I stand by my initial admiration of the pieces I listed above, there’s always a way to understand something you didn’t appreciate at first. This exhibition does a good job at guiding you through that process. Less really is more.
