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PIETRO RUFFO
FEBRUARY 2020 - JULY 2020
Pietro Ruffo presents MAREMOTO - Tidal Wave, his fourth exhibition at Galleria Lorcan O’Neill. Ruffo explores themes such as liberty, democracy, war, commerce, colonialism; he delves into anthropology, philosophy, and political history. For this show he has created monumental wall-installations in hand-painted blue and white ceramic tiles. These works use the idea of water – the most spectacular identifier of our planet, blue with water – in all its complexity: a geographical boundary, a source of food and wealth, an abused and polluted habitat, a protector, a destroyer, the source of all life.
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MATVEY LEVENSTEIN
NOVEMBER 2017 - DECEMBER 2017
A series of new works provide the basis for Matvey Levenstein’s third exhibition at Galleria Lorcan O’Neill, presenting landscapes, portraits, and still-life images painted in and around the artist’s studio on the northern shores of Long Island, New York, between 2016 and 2017. Twilight, standing as an emblem of melancholy and solitude, and the soft, lightly coloured shadows it casts, play powerful roles in these works. Simultaneoulsy, Levenstein's complex compositions endow his new work with a profound sense of suspension and inner reflection.
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BETTY WOODMAN - Recent Works
OCTOBER 2017 - NOVEMBER 2017
The solo exhibition of Betty Woodman at Galleria Lorcan O'Neill, opening Friday 20 October 2017, features recent works from the artist’s studio in Tuscany and a selection of drawings.
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RACHEL WHITEREAD
MAY 2017 - OCTOBER 2017
Rachel Whiteread’s third exhibition at Galleria Lorcan O’Neill features new and recent works made over the past two years, including a unique double-door sculpture, resin and concrete casts of windows and walls, as well as large new works made with papier-mâché.
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GIORGIO GRIFFA
FEBRUARY 2017 - MAY 2017
Giorgio Griffa’s second solo exhibition at Galleria Lorcan O’Neill retraces the artist’s journey from the end of the 1960s onwards through a brief retrospective of works. From the radical rigour of the 70s to the more expressive and liberal gestures of Griffa’s contemporary pieces, the works come together in a vibrant sequence of colour and signs. As though stopping a thought midsentence, many of the artist’s works display a deliberately incomplete end-point in keeping with his belief that painting is “constant and never finished.”
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