Orla Whelan at The Pearse Museum, Dublin

I visited The Pearse Museum in early June, specifically because I wanted to see Orla Whelan’s latest exhibition Glas, Gorm, Uaine and see how she related it to the musem itself. I blogged about the outdoor part of the visit here.

Whelan's abstract work tends to be site specific with an intention related to the building in which it is set, so I was curious how it would fare in this museum. I last saw her work at Rathfarnham Castle and I blogged about it here. My own work was exhibited at Rathfarnham Castle last year and I did several blogs about work leading up to the exhibition, installation, opening night and virtual tours; simply do a search on this site for Memory Is My Homeland for further details.

The gallery at the Pearse Museum consists of two rooms. The first room was occupied by a large floor piece 

and the walls of the second room contained smaller works on linen. 

I was fascinated by the two antique chairs in the room and it took a moment to realise they belonged with Whelan's exhibition.

They fitted in so well with the historicity of the Museum.  Titling the chairs Bedroom Chair for Patrick and Bedroom Chair for Liam makes sense for their setting in The Pearse Museum. 

Whelan had meticulously woven a pattern, that corresponded with her small paintings, into the mesh seat of each antique chair frame.

The fine marquetry of the geometric fireplace guard also took its natural place in the room.

The show continues till August 13th.-

Pearse medal

 I was at the lovely Pearse Museum again last year, specifically to see an art exhibition from the OPW Collection (which I blogged about here), but it is always nice to have a gander around the museum itself, which is dedicated to the Irish hero. The museum is situated in the boys' school that Patrick Pearse founded early last century at St Enda's Park (a gorgeous park to wander around). Seeing the image plaque again reminded me that I knew there was an error of some sort in the commemorative medal that I had at home, which had been given to me when my Mum died a few years ago.

When I got home I had a good look at the medal, which was commemorating Pearse having been born 100 years previously.

On the reverse side of the coin is an excerpt from the speech Pearse made at the graveside of O'Donovan Rossa in 1915, which is credited to being seminal to the Easter Uprising the following year. A member of the language police that I am, I spotted the spelling error on this commemorative medal. "Finian" is a boy's name, in his speech Pearse referred to the "Fenian" dead. Fenian refers to the Irish Republican Brotherhood (IRB), the secret political organisation of the late 19th-early 20th century that was dedicated to the establishment of an independant Ireland. I wonder how many of these medals were made for the commemoration and if anyone else is a trainspotter?

Double Estate at the Pearse Museum, Dublin

On a cold but dry Sunday afternoon a few weeks ago, I made my way to Rathfarnham for the specific purpose of seeing a couple of exhibitions at two OPW museums that are near to each other. I previously blogged about the Mary Ruth Walsh exhibition at Rathfarnham Castle here, but on the way to the castle, I first visited the Pearse Museum. Please note that due to covid protocols one must phone first and specify the time of a visit. I had seen pictures of the exhibition in a recent issue of VAN, the Visual Artists Ireland newsletter, and was intrigued enough that I wanted to see the work IRL (in real life).

Though it is impossible not to be overwhelmed by Janet Mullarney's sculptural work hanging in the middle of the first room, the set-up also forced me to carefully wend my way around the perimeter of the room to look at works individually (taking care not to step backwards!).

From across the room I recognised a colourful carborundum print by Michael Cullen (lower right). Once I discovered what the title of the piece was, the image took form in my own memory - Caravaggio's Taking of Christ can be seen in the National Gallery.

The work in Double Estate is put together by curator Davey Moor from the OPW (Office of Public Works) art collection. A poem by Emily Dickenson inspires the show and the reasoning behind the amalgamation of these disparate works. Dickenson refers to the body and the soul in her poem, and Moor latches on to these concepts as his curatorial premise. Moor's essay, along with an essay by Brian Crowley (collections curator) are printed within Oonagh Young's beautifully designed full colour exhibition catalogue.

It was good to see the Pearse brothers represented in a contemporary exhibition at this location. William Pearse, Patrick's artist brother is represented by two pieces of sculpture (not in any of these photos, but in the catalogue) and Patrick himself appears in a 1944 lithographic portrait by Sean O'Sullivan.

The second room of the exhibition contained larger wall works and several sculptures but again was dominated by a mixed media floor piece.

I particularly liked this large drawing/painting/sculpture, Boy, by David Quinn.

The exhibition has been on show in the Pearse Museum for awhile now, but it finishes at the end of the year so there are only a few weeks left to have a look!