Perhaps Our Awakening Is Our Deeper Dream at Golden Thread Gallery, Belfast, curated by Sharon Murphy,
Friday 2.October - Wednesday 28th October 2020.
To view a video about the exhibition please click here
This exhibition was supported by Fingal Arts Office through the curator-artist mentorship scheme.
The painting Leaving Nineveh which is part of the Fingal County Council Collection has been permanently installed in the Our Balbriggan office, Co. Dublin..
Ordnance, 50 x 60cm, oil on canvas, 2020, exhibited at the inaugural Highlanes Gallery Open Submission 2020,
June - July 2020
June - July 2020
''Will There Be Singing In The Dark' is an installation work which was part of 'The Consequence Of Memory And Pulse' 3-person show at the Burren College of Art, Ballyvaughan https://www.burrencollege.ie/
12th September - 18th October 2019, with Sean Cotter, Thomas Brezing and Gary Robinson.
My contribution to this exhibition was supported by Fingal Arts Office through the Fingal Artists Support Scheme Award 2019.
12th September - 18th October 2019, with Sean Cotter, Thomas Brezing and Gary Robinson.
My contribution to this exhibition was supported by Fingal Arts Office through the Fingal Artists Support Scheme Award 2019.
Working desk at Heinrich Boll Cottage, Achill, Co. Mayo, during residency November 2018
Anvil Dust, solo exhibition at the Molesworth Gallery, Dublin, 7th - 28th September 2018.
Image: Father, This Is Your Anvil Dust, oil on canvas, 200 x 220cm (photo by Jozef V. Voda)
For more please click here
‘A quote from Wendell Berry in the exhibition catalogue provides a clue to Thomas Brezing’s concerns. Berry was a romantic agrarian who criticised urbanisation and flight from the land. Brezing’s images of huddled masses, lost souls and plodding lines of humanity reference our current immigration problems, and the alienation of those displaced from the land. The Technicolor nightmare of the city, as seen in Hand in Hand is the Only Way to Land, is the inferno into which these unfortunates have been thrown. Anvil Dust, the title of the show, is a by-product of the blacksmith’s trade. Brezing was brought up in the Black Forest and remembers his blacksmith father’s hands being permanently stained grey by ingrained dust. In a parallel that would excite a Freudian, Brezing also aspires to permanence in grey. He has said ‘Every painting is a new attempt at painting an empty grey canvas.’ Some potential viewers will be encouraged to hear he has so far failed in this minimalist ambition. These paintings are richly coloured expressionist works dense with the bustle of a busy and preposterous world, and bleak with the plight of humanity gathered in hopelessness.’
John P O’Sullivan, 23rd September 2018, The Sunday Times
Image: Father, This Is Your Anvil Dust, oil on canvas, 200 x 220cm (photo by Jozef V. Voda)
For more please click here
‘A quote from Wendell Berry in the exhibition catalogue provides a clue to Thomas Brezing’s concerns. Berry was a romantic agrarian who criticised urbanisation and flight from the land. Brezing’s images of huddled masses, lost souls and plodding lines of humanity reference our current immigration problems, and the alienation of those displaced from the land. The Technicolor nightmare of the city, as seen in Hand in Hand is the Only Way to Land, is the inferno into which these unfortunates have been thrown. Anvil Dust, the title of the show, is a by-product of the blacksmith’s trade. Brezing was brought up in the Black Forest and remembers his blacksmith father’s hands being permanently stained grey by ingrained dust. In a parallel that would excite a Freudian, Brezing also aspires to permanence in grey. He has said ‘Every painting is a new attempt at painting an empty grey canvas.’ Some potential viewers will be encouraged to hear he has so far failed in this minimalist ambition. These paintings are richly coloured expressionist works dense with the bustle of a busy and preposterous world, and bleak with the plight of humanity gathered in hopelessness.’
John P O’Sullivan, 23rd September 2018, The Sunday Times
Thomas Brezing (left), Gerard Dillon (right).
The RHA or Royal Hibernian Academy presented a selection of iconic works from the Drogheda Municipal Art Collection from some of Irelands best known and influential artists dating from the eighteenth century to present day in the Dr. Tony Ryan Gallery from 5 October – 19 November 2017.
RHA Director, Patrick T. Murphy, working alongside Aoife Ruane, Director of the Highlanes Gallery, Drogheda curated a selection of highlights from the collection. Nano Reid, Mainie Jellet, Thomas Brezing, Jessica Foley, Simon Coleman, Kate Byrne, Gerard Dillon, Beatrice Glenavy, May Guinness, Letitia Mary Hamilton, Anthony Haughey, Grace Henry, Evie Hone, John Francis Kelly, Claire Marsh, Norah McGuinness, Sean McSweeney, Sinead Ni Mhaonaigh, Jackie Nickerson, Bea Orpen, Sarah Purser, Patrick Pye, Hilda Roberts, Mary Swanzy, Charles Tyrrell.
The RHA or Royal Hibernian Academy presented a selection of iconic works from the Drogheda Municipal Art Collection from some of Irelands best known and influential artists dating from the eighteenth century to present day in the Dr. Tony Ryan Gallery from 5 October – 19 November 2017.
RHA Director, Patrick T. Murphy, working alongside Aoife Ruane, Director of the Highlanes Gallery, Drogheda curated a selection of highlights from the collection. Nano Reid, Mainie Jellet, Thomas Brezing, Jessica Foley, Simon Coleman, Kate Byrne, Gerard Dillon, Beatrice Glenavy, May Guinness, Letitia Mary Hamilton, Anthony Haughey, Grace Henry, Evie Hone, John Francis Kelly, Claire Marsh, Norah McGuinness, Sean McSweeney, Sinead Ni Mhaonaigh, Jackie Nickerson, Bea Orpen, Sarah Purser, Patrick Pye, Hilda Roberts, Mary Swanzy, Charles Tyrrell.
Film still, Out Too Far (Wishing Too Many Things)
To watch the film (9 min duration) please click here
To watch the film (9 min duration) please click here
