Dorothy Cross
Celebrating 10 years at Dallas Art Fair
Dorothy Cross
Nathalie Du Pasquier
Justin Fitzpatrick
Richard Gorman
Callum Innes
Merlin James
Elizabeth Magill
Ailbhe Ní Bhriain
Isabel Nolan
Liliane Tomasko
Marcel Vidal
Paul Winstanley
With support from
Dorothy Cross
Clam (with tongue...), 2003
two clam shells, cast gold
3.5 x 10 x 10 cm /1.4 x 3.9 x 3.9 in and 4 x 10 x 10 cm / 1.6 x 3.9 x 3.9 in
Justin Fitzpatrick
Vasodilation (Happy Birthday), 2024
oil on linen, oak frame
140 x 110 cm / 55.1 x 43.3 in
143 x 113 x 3 cm / 56.3 x 44.5 x 1.2 in framed
Richard Gorman
Untitled 4, 2015
dye on handmade Echizen kozo washi paper
107 x 100 cm / 42.1 x 39.4 in
Richard Gorman
Untitled, 2003
dye on handmade Echizen kozo washi paper, 9 elements
each 50 x 63 cm / 19.7 x 24.8 in approximately
installed dimensions 168 x 202 cm / 66.1 x 79.5 in
Liam Gillick
Denominator Platform, 2018
powder-coated aluminium, plexiglass
200 x 300 x 5 cm / 78.7 x 118.1 x 2 in
Callum Innes
Untitled Lamp Black / Quinacridone Gold, 2024
oil on linen
102 x 100 cm / 40.2 x 39.4 in
Ailbhe Ní Bhriain
The Muses I, 2018
Jacquard tapestry, wool, cotton, 5/5 from an edition of 5 + 2AP
212 x 165 cm / 83.5 x 65 in
about the artists
Dorothy Cross
b. 1956, Cork, Ireland
Lives and works in Connemara, Ireland
Working in sculpture, film and photography, Dorothy Cross examines the relationship between living beings and the natural world. Living in Connemara, a rural area on Ireland’s west coast, the artist sees nature, the ocean and the body as sites of constant change and flux. Her works harness this fluidity and generative power, staging unexpected encounters between plants, animals, body parts and everyday objects, resulting in strange, hybrid forms that range from the lyrical, sublime and meditative, to the erotic, humorous and playful.
Dorothy Cross has exhibited in museums including MoMA PS1; ACCA, Melbourne; Tate, St Ives; ICA, Philadelphia; Modern Art Oxford; Turner Contemporary, Margate; the Arnolfini Gallery, Bristol and Camden Arts Centre, London. Cross is currently working on an ongoing project titled KINSHIP, a ritualised journey returning a mummified body from Ireland to Egypt, and resulting in a new publication published on 10 October with contributions from Edmund de Waal, Max Porter, Ahdaf Soueif and more. Current/forthcoming exhibitions include the Hayward Touring exhibition Acts of Creation: Art and Motherhood (various venues across the UK, 2024–2025), The Gorgeous Nothings, Chatsworth House (15 March – 5 October), and a solo exhibition at the Archaeological Museum, Zagreb (November 2025).
Nathalie Du Pasquier
b. 1957, Bordeaux, France
Lives and wotks in Milan, Italy
Influenced by the language of classicism, Nathalie Du Pasquier’s paintings splice together simplified still-life compositions, architectural plans, industrial drawings, and playful fragments of text with boldly simplified blocks of colour. New objects constantly enrich Du Pasquier’s imaginary and symbolic world and she follows particular, poetic paths to construct and compose forms, sculpt space, and render representation anew.
Born in Bordeaux, France, Nathalie Du Pasquier first discovered pattern and texture in West Africa in the 1970s, and has lived in Milan since 1979. A founding member of the Memphis design group, she designed textiles, carpets, plastic laminates, furniture and objects before dedicating herself to painting in 1987. Her work has been exhibited at MACRO, Rome; MRAC, Sérignan; Palais de Tokyo, Paris; Camden Arts Centre, London; Fruitmarket Gallery, Edinburgh; ICA, Philadelphia; Kunsthalle Wien, Vienna; Kunsthaus Biel; Kunsthal Aarhus, Denmark; Hôtel des Arts, Toulon and Le Corbusier’s Villa Savoye in France. Current/forthcoming exhibitions include Saint Fairy Anne, Kerlin Gallery, Dublin, Ireland (Solo 11 April – 17 May) and Museo Costantino Nivola, Orani, Sardinia, Italy (Solo, from 17 May).
Justin Fitzpatrick
b. 1985, Dublin, Ireland
Lives and works in Montargis, France
Justin Fitzpatrick works with painting, sculpture, text and, most recently, video to explore human consciousness through the prism of biology. He presents us with elaborate and fantastical paintings of mysterious figures and mutating forms; sinewy lines evoke art nouveau detailing, fused with gothic and macabre elements. The artist’s subjects are porous: at times, bodies merge with mechanical or infrastructural systems, elsewhere with ornate, vegetal forms and insects, pointing towards the interconnectedness of species.
Born in 1985 in Dublin, Ireland, Justin Fitzpatrick attended St. Oswald’s School of Painting in London from 2004–2007 and earned his MA in Fine Art Painting from the Royal College of Art in London in 2015. Recent exhibitions include A Musical Instrument, Kerlin Gallery (2024); Arcanes, Rituels et Chimères, FRAC Corsica (2024); Ballotta, La Ferme du Buisson, Paris (2024); and Alpha Salad, The Tetley, Leeds (2022).
Liam Gillick
b. 1964, Aylesbury, England.
Lives and works in New York
One of the most important figures in international contemporary art, Liam Gillick works across diverse forms, including sculpture and installation. Gillick’s line of enquiry is into conditions of production, including how it continues to operate in a post-industrial landscape: questions of economy, labour and social organisation are ongoing preoccupations. He is perhaps best-known for producing sculptural objects – platforms, screens, models, benches, prototypes, signage, or structural supports made from sleek modular Plexiglas and aluminium forms in standardised colours from the RAL system. These seductive materials speak the language of renovation and development: originally refined by the military, they’ve been widely used in corporate interiors since the 1990s, a decade in which post-industrial societies saw a shift from the collective to the individualist and privatised.
Liam Gillick has had solo exhibitions in many of the world’s leading museums, including the Stedelijk Museum, Amsterdam; Pergamon Museum, Berlin; Kunsthalle Zürich; Museum of Modern Art, New York; Palais de Tokyo, Paris; Witte de With, Rotterdam; Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, Bonn; Sankt Peter, Cologne; Kunsthalle Wien, Vienna; Kunsthaus Zürich; MAGASIN, Grenoble; Madre Museum, Naples; Museum of Contemporary Art, Chicago; Tate Britain, London; IMMA, Dublin; Potter Museum, Melbourne and Gwangju Museum of Art, Korea. Forthcoming solo exhibitions include À bientôt, j’espère…, Kerlin Gallery, 23 May – 28 June.
Richard Gorman
b. 1946, Dublin, Ireland
Lives and works in Dublin and Milan
A gifted colourist, Richard Gorman is best known for his paintings and works on paper exploring the dynamic interplay between geometric forms. Infused with a sense of vitality and playfulness, Gorman’s offbeat shapes appear mobile and animated, as if floating past or colliding with one another. Their generosity of spirit is enhanced by a striking colour palette, varying from meditative blues to piquant acid tones. Gorman’s approach to painting has been guided by the places he has visited and been influenced by: Milan, where he has lived on/off for many years, and Japan, home to the family-run paper factory he has visited to produce his handmade kozo washi paper for over 30 years.
Richard Gorman’s work has been exhibited at The Drawing Centre, New York; Berkeley Art Museum, California; Barbican Centre, London; Koriyama City Museum of Art, Mitaka City Gallery of Art and Ashikaga City Museum of Art in Japan; The MAC, Belfast; the Irish Museum of Modern Art and Douglas Hyde Gallery, Dublin. Recent solo exhibitions include Japan, Kerlin Gallery (2025); Living Through Paint(ing), travelling from The Hugh Lane Gallery, Dublin (2023) to The Contemporary Art Museum of Villa Croce & Oriental Art Museum E. Chiossone, Genoa, Italy (2024). Gorman’s work is represented in the collections of the Irish Museum of Modern Art, Dublin; National Gallery of Ireland, Dublin; Crawford Art Gallery, Cork; Josef and Anni Albers Foundation; Koriyama City Museum of Art, Japan; Centre of Contemporary Graphic Art, Fukishima, Japan and New York Public Library.
Callum Innes
b. 1962, Edinburgh, Scotland
Lives and works in Oslo, Norway and Edinburgh, Scotland
Callum Innes creates abstract paintings that carry a powerful tension between control and fluidity. Dissolution is central to his practice: layers of deep pigments are brushed over with turpentine, breaking down sections of paint and leaving watery, trace elements, before being painted over again. Repeating this process of painting, dissolving and repainting multiple times, Innes builds depth and a sense of history: oblique panels of dense pigments become embedded and fortified, while tiny trickles or rivulets of liquified paint point to their underlying fragility. Though Innes’s works may seem minimal or geometric at first glance, they are in fact always slightly “off kilter”, governed by imperfectly drawn lines and slightly softened shapes. This fallibility and humanity, put in contrast with the artist’s skill and precision as a painter, results in works of great poetic and contemplative power – cementing Innes’s place as one of the most significant abstract painters of his generation.
Callum Innes has been the subject of solo exhibitions at De Pont Museum, Tilburg; Kunsthalle Bern; Neues Museum, Nürnberg; Museum of Contemporary Art, Sydney; the ICA, London; the Scottish National Gallery, and the Fruitmarket Gallery, Edinburgh; Kettle’s Yard, Cambridge; Modern Art Oxford; the Whitworth, Manchester; IMMA, Dublin; Château La Coste, Provence and Kode, Bergen, where a new public artwork has just been installed on the building’s facade. His work can be found in the collections of Albright-Knox, Buffalo; Centre Pompidou, Paris; Irish Museum of Modern Art, Dublin; Modern Art Museum of Fort Worth, Texas; Museé des Beaux-Arts, Lausanne; National Galleries of Australia, Canberra; San Francisco Museum of Modern Art, CA; Scottish National Gallery of Modern Art, Edinburgh; Solomon R Guggenheim Museum, New York and Tate Gallery, London.
Merlin James
b. 1960, Cardiff, Wales
Lives and works in Glasgow, Scotland
Merlin James approaches the history and legacy of painting with a highly considered and unconventional viewpoint. Generally small in scale, his works depict diverse subject matter including vernacular architecture, riverside views, post-industrial landscapes, empty interiors, mysterious figures and scenes of sexual intimacy. James has a deep engagement with the history of art and this knowledge shapes and informs his practice. His works refine and renew many of painting’s most time-honoured concerns – genre and narrative, pictorial space and expressive gesture, the emotive resonance of colour and texture.
Merlin James’s solo exhibitions include at Kettle’s Yard, Cambridge; Venice Biennale, Wales Pavilion; Sikkema Jenkins, New York; KW Institute, Berlin; Kunstsaele, Berlin; CCA, Glasgow; Kunstverein, Freiberg; Douglas Hyde Gallery, Dublin; OCT, Shunde & Shenzhen; Anton Kern, New York; Philadelphia Art Alliance. Current exhibitions include Drawing the Unspeakable, Towner Eastbourne (5 October – 27 April) and Hobby Horse, Sikkema Jenkins, New York, USA (Solo, 21 February – 5 April). Selected international collections include Tate, London; Musée d’Art Moderne de la Ville de Paris; Dallas Museum of Art, Dallas; Sifang Art Museum, Nanjing, China and National Museum of Wales, Cardiff.
Elizabeth Magill
b. 1959, Canada
Lives and works in London, UK and County Antrim, Ireland
Elizabeth Magill’s highly idiosyncratic paintings present subjective and psychological takes on the landscape genre. Rich with kaleidoscopic patterning and fragmented forms, these vistas are embedded in place – usually rural settings on the edges of settlements – but transported through the artist’s imagination, memories, photographs or moods to be presented as something other. The term ‘inscape’ has been used to describe Magill’s practice: landscapes not based on direct observation, but imbued with a sense of interiority and reflection.
Elizabeth Magill has been the subject of solo exhibitions at Arnolfini, Bristol; Bluecoat Gallery, Liverpool; PEER, London; Ikon Gallery, Birmingham; Milton Keynes Gallery; BALTIC, Gateshead; Towner Gallery, Eastbourne; Southampton City Art Gallery and Dublin City Gallery The Hugh Lane. Recent exhibitions include Moments of Being – Contemporary Irish Painting, Solstice Art Centre, Navan (18 January – 15 March 2025); Collecting Contemporary, British Museum; Now You See It, Crawford Art Gallery, Cork (both 2024); Contemporary British Landscape Painting, University of Leeds; Bringing To Light, Towner Eastbourne, both UK (2022). Collections include the Tate; the British Museum; the Government Art Collection; the Arts Council of Great Britain, all London; the National Gallery of Australia; the Irish Museum of Modern Art; The Hugh Lane Gallery, both Dublin; Crawford Art Gallery, Cork; Ulster Museum; and the Arts Council of Northern Ireland, both Belfast.
Ailbhe Ní Bhriain
b. 1978, Clare, Ireland
Lives and works in Cork, Ireland
Ailbhe Ní Bhriain is an Irish artist working with film, computer-generated imagery, collage, tapestry, print and installation. Ní Bhriain’s work is rooted in an exploration of imperial legacy, human displacement and the Anthropocene. These intertwined subjects are approached through an associative use of narrative and a deeply crafted visual language that verges on the surreal. She sidesteps directive positions and familiar binaries, exposing instead the layers of ambiguity and contradiction embedded in these fraught issues. The resulting worlds she creates are at once idiosyncratic, irresistible and unsettling.
Ailbhe Ní Bhriain’s work has been shown widely internationally, at venues including Broad Museum, Michigan; Whitechapel Gallery, London; Hammer Museum, LA; Istanbul Modern, Turkey; Reina Sofia Museum, Madrid; and Musée des Beaux-Arts de Lyon, France; the 16th Lyon Biennale and the 3rd Lahore Biennale. Current and forthcoming exhibitions include The Dream Pool Intervals, The Hugh Lane Gallery, Dublin (Solo, 27 March – 28 September 2025); Lismore Castle Arts, Ireland (Solo, 14 June – 24 August); and Programmed Universes, MAC Lyon, France (Group, 7 March – 13 July). Recent solo exhibitions include An Experiment with Time, Kunsthal Gent, Belgium (2024); Kerlin Gallery (2023); CCA Glasgow (2022). Public collections include Dallas Museum of Art; MAC Lyon; the Irish Museum of Modern Art, Dublin; the Hugh Lane Gallery, Dublin; Ulster Museum, Belfast; Crawford Art Gallery, Cork; Trinity College Dublin; and The Arts Council of Ireland.
Isabel Nolan
b. 1974, Dublin, Ireland
Lives and works in Dublin, Ireland
Isabel Nolan has an expansive practice that incorporates sculptures, paintings, textile works, photographs, writing and works on paper. Her subject matter is similarly comprehensive, taking in cosmological phenomena, religious reliquaries, Greco-Roman sculptures and literary/historical figures, examining the behaviour of humans and animals alike. These diverse artistic investigations are driven by intensive research, but the end result is always deeply personal and subjective. Exploring the “intimacy of materiality”, Nolan’s work ranges from the architectural to small handmade objects, drawings and paintings. In concert, they feel equally enchanted by and afraid of the world around us, expressing humanity’s fear of mortality and deep need for connection as well as its startling achievements in art and thought.
Isabel Nolan will represent Ireland at the 2026 Venice Biennale and will exhibit in the 2025 Liverpool Biennial. Solo exhibitions include Château La Coste, Aix-en-Provence; Void Gallery, Derry; Contemporary Art Gallery, Vancouver; Mercer Union, Toronto; London Mithraeum Bloomberg SPACE, London; Douglas Hyde Gallery, Dublin; the Irish Museum of Modern Art, Dublin; Solstice Arts Centre, Navan; Kunstverein Graz, Austria; Kunstverein Langenhagen, Germany and Musée d’art moderne de Saint Etienne, France. Forthcoming solo exhibitions include Southwark Park Gallery, London (2026) and Bluecoat Gallery, Liverpool (2027).
Liliane Tomasko
b. 1967, Zurich, Switzerland
Lives and works in London, UK
Liliane Tomasko’s abstract paintings employ a distinctive, bold lyricism and assertive sense of colour. The artist began her investigation of the human psyche in the domestic sphere, using the intimate textures of our lives to open a gateway into the nocturnal realm of sleep and dreaming. Tomasko’s approach to abstraction is rooted, therefore, in the physical realm but ultimately transcends it. Fusing material observation with intuition and association, the artist produces vigorous, imaginative expressions of familiar environments and psychological states. Intense colour, subtle tone, shadow, and painterly gesture allow space to come in and out of focus, oscillating between clarity and obscurity and emulating the atmospheric power of dreams and memories.
Tomasko’s current/upcoming solo exhibitions include Liliane Tomasko: The Psyche of the Portrait. Tomasko meets Bonnard, van Dongen, Paolozzi, and Auerbach, Millennium Gallery, Sheffield Museums, Sheffield, UK (24 May – 12 October 2025). Recent solo exhibitions include Twofold, Kerlin Gallery, Dublin (2024); The Artist’s Eye, The Douglas Hyde Gallery, Dublin; Name me not, CAB Burgos, Spain (both 2023); S P E L L O F T H E W O O D, Highlanes Gallery, Drogheda; Evening Wind, Edward Hopper House, Nyack, New York, USA (both 2022); and Morpheus, Kunstmuseum Kloster unser lieben Frauen Magdeburg, Germany (2021). She has also exhibited at Château la Coste, Aix-en-Provence; Hôtel des Art, Toulon; ROCA Rockland Center for the Arts, New York; Phoenix Art Museum, Phoenix; Lowe Art Museum, Miami and Museo MATE, Lima.
Marcel Vidal
b. 1986, Dublin, Ireland.
Lives and works in Dublin, Ireland
Quietly disarming and unsettling us with an ominous beauty, Marcel Vidal’s paintings are marked by their controlled brushwork, layering oil on linen with delicacy and precision. They are refined and restrained, incarnating brightly lit fragments of photographs or digital images: unidentified figures seem caught by flashbulbs; glossy foliage catches the light before retreating into darkness; distinguished hands are frozen mid-clap. Vidal’s minimal compositions are severely cropped to reveal only a sliver of their subject, using ambiguity to frustrate interpretation, all while inviting our curiosity.
Vidal has won numerous awards, including the Hennessy Craig Award; Main Prize, Golden Fleece Award; Arts Council of Ireland Next Generation Award; Fire Station Sculpture Workshop Award and K&M Evans Painting Prize. Solo and two-person exhibitions include Kerlin Gallery (2021), The Complex, Dublin (with Paul Hallahan, 2020); The Dock Arts, Carrick on Shannon (2018) and Temple Bar Gallery & Studios (2017/2018). Recent group exhibitions include All Flowers in Time Bend Towards the Sun, Dublin Castle (2025); MAKING ART: Sculpting, Draiocht, Dublin (2023); GENERATION 2022: New Irish Painting, Butler Gallery; Golden Fleece Award: 21 Years, Solstice Arts Centre, Navan, Ireland (both 2022).
Paul Winstanley
b. 1954, Manchester, UK
Lives and works in London, UK
Paul Winstanley is a painter who uses the genres of landscape, interior, still life and figure painting to create works of conceptual rigour. The relationship of the viewer to the painting is often seen as central to the content of the work. In this body of work, Winstanley looks towards early 19th-century painting of mountainous landscapes, and their exploration of the aesthetics of the sublime. Revisiting and reinventing this genre, the artist articulates the ways in which pictures mythologise reality.
Paul Winstanley has exhibited at many of the world's leading museums, including Renaissance Gallery, Chicago; Museum of Contemporary Art, Los Angeles; Walker Art Centre, Minneapolis; New Orleans Museum of Art; Museum of Contemporary Art, San Diego; Tate, Hayward Gallery, Barbican Centre, Whitechapel Gallery, Royal Academy, all London; Fondation del’Hermitage, Lausanne; Hamburger Kunsthalle, Hamburg; Kunstverein Freiburg; Museum of Modern Art, Rome; Today Art Museum, Beijing; Artspace, Auckland and Museu de Arte de São Paolo.
