MokikaFerris exhibition
of his first solo album, Unapproved Road in 1981. Songs like Whatever you say, say nothing, and Almost every Circumstance were soon in the repertoire of artists from Billy Connolly to Maddy Prior and June Tabor.
His second album The March Ditch inspired a special BBC television documentary and songs like The Man with the Cap and Looking the loan of a Spade confirmed his unique ability to observe locally and appeal universally. On his travels around the world he soon discovered that many of his songs had arrived before him, carried by other singers and in recordings by fellow performers like Andy Irvine, Tommy Makem and Liam Clancy, Roy Bailey, Mick Hanley, Gerard van Maasakkers, Rosemary Woods, Iain McIntosh and Enda Kenny. In 1996 Colum released his third album, All My Winding Journeys, a musical voyage ranging from traditional songs like Jackson Johnson, learned from the singing of his father, to originals like The Night is Young, Directions, and the title track, his translation to English of a Goethe poem on which he was joined by Berlin songstress Scarlett O’. In 2000, his first book, ‘Between the Earth and the Sky’ was published and its pages, like Colum’s stage performances, contain a combination of songs and stories.
Signal Arts Centre is delighted to present this portrait exhibition by Polish artist, Monika Ferris
The exhibition ‘Reflection Within the Art of Portrait’ will be on from Monday, January 22 until Sunday, February 4.
Monika Ferris is a portrait artist from Poland currently living in Merrion Square, Dublin.
Her upcoming exhibition at the Signal Arts Centre will include portraits focused to express the energy and beauty of a human, especially female and her inner magic.
Reflecting within the art of portraits is a way of capturing a portrait and what we actually see while looking at the other person. Many emotional influences can impact on the final portrait expression; therefore leading to the deepest point of presenting a portrait.
From universal reflection on the human condition and the penetrating portrait depth, to the existential mirrors combined with paintings, triggers captured reactions of the viewer’s portrait.