404. Dolmainí sa Choiré

Hard to believe but did you know that a great number of Dolmens are to be found in Korea! I just had to share this post from my friend Ancroiait. It’s in Irish but just look at the photos and you’ll see what I mean. Isn’t it nice to realise that we’re somehow connected right across the world.


Buíochas le mo dhalta, Hyungsan Lee, a spreag an píosa seo. Bhí sé ag roinnt eolais faoina thír liom inné nuair a tháinig ionadh an domhain orm.

Cé go gceapann neart daoine nach bhfuil Dolmainí (tuamaí) le fáil ach amháin in Éirinn, bhí siad i go leor áiteachaí eile ar fud an domhain idir 2,000 & 1,000 RC.

Aithníonn muid na clocha mar shiombal dár n-oidhreacht féin ach ní linne amháin iad.

Irish dolmen

Tá dolmainí sa Iarthar: sa Spáinn, sa Fhrainc, sa Bhreatain Bheag, i gCorn na Breataine, i dTír na mBascach, sa Phortaingéil, sa Iodáil…

Ach an raibh ‘fhios agat go raibh siad le fáil san India, sa Tuirc, sa Rúis, san Iordáin, san Ailgéir, san Aifric… chomh maith? Tá.

Dolmainí san Oirthear
Ceisteanna faoin téarma ‘Oirthear’ sin ar dtús ar ndóigh: cá bhfuil an líne idir oirthear agus iarthar? Cé a tharraing an líne sin? An bhfeiceann gach tír…

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Beginning to Etch

etching of ship by Eoin Mac Lochlainn










I’ve been doing an etching course for the last while and I’m beginning to get the hang of it at this stage.  There’s an awful lot to learn – about soft ground, hard ground, aquatint, spitbite, sugar lift and goodness knows what – but gradually it’s beginning to make sense.  It is amazing that I am learning to use the same techniques that were used by artists like Rembrandt in the 17th century.  Nothing about it has changed since then ( except we now work under electric lights, I suppose ).  The course is run by Niamh Flanagan and Clare Henderson of Graphic Studio Dublin and I would definitely recommend it.  The image above is made using a soft ground on a copper plate.  ( ‘Soft ground’ is a type of wax ). I placed a sheet of newsprint over the plate and drew on it with a pencil.   The ground underneath the drawing came away from the copper plate and when the plate was then put into an acid bath, the original image was etched into the copper.   Anyway, there’s a lot more information at:



…speaking of trees !

sculpture installation by Eileen MacDonagh















We travelled down to Visual in Carlow yesterday to see “Lithosphere”, an exhibition by renowned Irish sculptor Eileen McDonagh.  As you can see above there is a forest installed in one of galleries. The trees are 8 metres tall.  Artist Cathy Fitzgerald made a short film about the installation.  See it at:




abstract painting by Rebecca Crowell
Rose Veil by Rebecca Crowell














I came across an artist called Rebecca Crowell recently and I was really taken with her work.  Here’s one of her paintings above.  She is exhibiting in a 2 person show at the moment, entitled “Vestiges” in the Elaine Erickson Gallery in Milwaukee, USA and I have reproduced below part of her artist’s statement:

A few years ago, walking on a foggy, craggy moor in central England, I realised that there must be many places around the world (like that very moor) that – despite their geographic location – can feel like home, the true home of my senses and feelings. For each of us, these places will be different – but in certain surroundings, particular to our own experience – we sense that we belong, and feel special creative energy. There are aspects of the colour, the texture and the features of these places that resonate in our souls. The vestiges of these places that linger in our minds are far more than just mental pictures of a scene or beautiful landscape. They are sensual and emotional memories, mingled with other moments in our lives when we felt this special connection.  On that moor in England, for example, I remembered wandering in nature as a child, and my love of rocks and wild places. I felt at home with a core aspect of myself, though I was physically far from my own country.

It reminded me of a feeling I used to get in the Dublin Mountains in my own youth and indeed, it was a feeling that I used to try and find in my paintings. ( I used to call them ‘bog landscapes’ even though in the end they were more about the mood or atmosphere that colours can create ).  ‘Home’ could have been another name for them, maybe.   Strangely enough, the title of my recent exhibition was “Home” but these days my work is quite different to those abstract works of a decade ago. 

However, even though the work appeared to be about the struggles of the homeless, I would say that it was actually more about a yearning for ‘home’.  I would even suggest that the practice of art is often ‘a yearning for home’, so to speak.  But I have a question:  When I left art college I was making abstract paintings but gradually, various social issues began to creep into my life and it was reflected in my art so that at this stage I make purely figurative works.  My question is: Is it possible to make abstract work but also to allude to more down to earth issues in life today? 

You can see more of Rebecca’s work at: http://rebeccacrowellart.blogspot.com/ http://www.eericksongallery.com/index.htm


Ar dheis Dé go raibh a Anam

Pen and ink drawing by Louis le Broquy













Sad to note that the artist Louis le Brocquy HRHA died yesterday.  I always loved his illustrations for Thomas Kinsella’s version of the Irish legend “Táin Bó Cuailnge”.  Roughly translated as “The Cattle Raid of Cooley”, the Táin tells the story of the attack on Ulster by Queen Maeve of Connacht.  Ulster was single handedly defended by the warrior Cú Chulainn but he was eventually killed by his childhood friend Ferdia.  A fierce tale of jealousy, valour, friendship and tragedy.

The pen and ink drawing above is entitled “Chariots”.