Jeff Wall’s second exhibition at Galleria Lorcan O’Neill opened in October, showing a number of smaller works made in Rome alongside one of his largest works, the image of a barren landscape in Sicily. The almost biblical harshness of the arid landscapes which these images depicts harks back to an elemental stillness that only lands as ancient and culturally rich as Rome and Sicily can evoke. These works evidence not only Wall’s skill as a photographer but his profound understanding of the regions.

Martin Creed’s first solo exhibition at Galleria Lorcan O’Neill is comprised of wall paintings conceived specifically for the gallery, which intend to scewer the viewers perception of depth and gravity by employing a series of multicoloured pinstriped patterns. The exhibition also includes photography, sculpture and neon; each exploring Creed’s desire to translate complex thought, feeling and instinct into minimal marks and gestural imprints.

Simon Popper’s installation covers the gallery walls with linen canvases of various sizes, each representing a specific type of bird, from ostriches to parrots, finches to ducks.

Richard Long’s third solo exhibition at Galleria Lorcan O’Neill, ‘Gravity', is in many ways an ode to the gallery and to its romanitas: the stone arrangements which feature are arranged specifically to fit the gallery’s layout, with the materials themselves being taken from the Italian landscape, with mud of the Tiber River being incorporated into the works. The exhibition pays homage to one of the artist’s greatest aides: Gravity. Long approaches the concept of gravity as more than a purely objective physical force, utilising it a tool in his own artistic practice, and this exhibition pays homage to such a rapport.

Luigi Ontani’s third exhibition at Galleria Lorcan O’Neill, Perentorio, presents viewers with a comprehensive survey of the artist’s work, demonstrating his mastery of a range of artistic media and the singularity of his subject matter. Typical of Ontani, the artist acts as protagonist in almost all of the works on display, dressing in the clothes of legendary figures from history, religion and literature. The name ‘Perentorio’ (peremptory, assertive, absolute) makes reference to Ontani’s relative vanity of subject, but also offers a mocking reference to the vulnerability of historical events and figures in the face of the creative and playful license of the artist.