Visual  Artist






Published on 14/04/2013 15:10

Abundance in Mountmellick

MOUNTMELLICK Library this month are welcoming Wexford artist Mary Wallace, with her exhibition ‘ Abundance’ – a selection of mixed media works showing in the Art Gallery during the month of April.

Mary Wallace’s mixed media paintings show an exuberant response to nature and capture the sensory essence of her subject. Primarily inspired by Mediterranean fruit trees and other exotic delights she experiments with a wide range of medium including paint, beeswax and egg tempera. With pure intuitive shapes, simplicity of line and beauty of colour found in nature she distills the intrinsic elements of the natural world.

“I reinvent the world around me with colour and texture. Alteration of scale allows me to present a new landscape inspired by the natural world. A world usually unnoticed by the casual observer. There is so much of the exotic in everyday life. I want to bring that increased awareness and sensual connection associated with a meditative state of mind to ordinary things”.

Mary Wallace lives and works in Wexford. She has exhibited extensively in solo and group shows since 2001. She is a Heritage Specialist facilitating art projects in primary schools through the Heritage Council and is a community artist working mainly in the arts and disability field. The exhibition will run in the library until Friday May 3 and all are welcome to view it during library opening hours.

For more information on this or any events taking place in Mountmellick libraries or any other library across Laois, visit www.laois.ie.

Wexford Echo 28 July 2012

Kilmore National Scool Art Project






  Sunday Business Post, 30/10/2011




      Wexford Echo  24/10/2011 






           Excerpt from 'On the Trail'  - exhibitions recommended by Tom Mooney, Editor              Echo Newspaper Group






                    Wexford People 19/10/2011

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Kilkenny People

Published on 01/07/2011 10:35

Café Meubles in the Kilkenny Business Park is presenting an exhibition of mixed-media works by Wexford artist Mary Wallace during July.

Ms Wallace?s body of mixed media works are primarily inspired by nature. Themes range from nature to Celtic imagery to the sea, magic, the elements, the night sky and more recently flowers, citrus trees and fruits. She experiments with a wide range of mediums including paint, wax encaustic and egg tempera, incorporating a visual display of colour and texture into her works to capture the sensory essence of her subject

Mary Wallace lives and works in Wexford. She has exhibited extensively throughout the South East in solo and group shows since 2001.This is her first time exhibiting in Kilkenny. Recent solo exhibitions include ?Yellow Through Blue? at Wexford Arts Centre in 2008 and currently ?Abundance? at The Cockleshell Gallery, Duncannon.


Thursday, January 24, 2008

ART REVIEW by Tom Mooney, Editor, Echo Newspaper Group
'YELLOW THROUGH BLUE' - Wexford Arts Centre 12th Jan to 23rd Feb 2008

THE LATEST exhibition by Mary Wallace at Wexford Arts Centre, continues her exploration using mixed media of themes revisited in her recent past, but with the vibrancy of hue and tone we have come to associate with this conscientious artist. Yellow Through Blue continues her discovery in Immram, Fish Tales and Bird Song which graced The Cockleshell Art Gallery in September: back then, Wallace?s vision was as colourful and as exotic as Rimbaud?s, and that we were confronted by sea monsters with marble eyes, exotic fauna and trees camouflaged by the down of a bird.

The sgraffito technique, more commonly associated with the old Venetian masters, lends itself to Wallace?s visions. Sgraffito traditionally was, a style either of wall decoration, produced by applying layers of plaster tinted in contrasting colours to a moistened surface, or in ceramics by applying to an unfired ceramic body two successive layers of contrasting slip, and then in either case scratching so as to produce an outline drawing. Another use of sgraffito is seen in its simplified painting technique. One coat of paint is left to dry on a canvas or sheet of paper. Another coat of a different colour is painted on top of the first layer. The artist then uses a palette knife or oil stick to scratch out a design, leaving behind an image in the colour of the first coat of paint. Sometimes a first coat of paint is not needed and the wet coat scraped back reveals the canvas.

Wallace works in this exhibition primarily in acrylic, a medium which facilitates an artist whenever they decide to work fast, because two of the advantages of acrylic is a quick drying technique, and a versatility which can mirror the pluvial outpourings of the imagination. It can be academic to wonder how abstract an artist has become, because occasionally the theory is not given life on the canvas, and sometimes a work can be so interesting that it does not require an explanation to resuscitate it, because it is unnecessary. Such is the case with Wallace?s latest exhibition, a dozen pictures that illuminate and hang from the walls of the wonderful D?Lush Café like new stars in the Northern Sky.

Yellow Through Blue is an accessible but still mysterious exhibition: it beckons like so many aurora borealis, magnetic in the lure of the hard hewn blues and red, a conception of rebellious poise. But why should we be surprised. If you have followed the development of this artist in recent years, you will have witnessed firsthand her visual ability to respond to an initial colour or shape, and take it from there.

There is about Wallace?s work the rhythm and the soil of the odyssey, the perception of evolution through metamorphosis, and I suppose she leaves us with something akin to a chrysalis, with no attempt at purgation, just the layered exploration of something engulfed by its own genesis.

She says that she paints on paper that has been torn in a very deliberate way to give the appearance of a fragment. Maybe so, but perhaps her intuition and the reservoir of archetypes in her psyche has told her through dreams and hibernating visions that our senses can perceive things that are worth expressing, but not in a traditional sense. There alone is a splendid reason to have a Mary Wallace image hanging on your wall: no sunset nor sunrise is the same, and if your imagination has legs and if your eyes have their own aperture, unclouded by ignorance, her glorious use of colour unfurls like laden lava.

Rimbaud?s well recycled quote that you need a disordering of all the senses to become a voyeur or a seer is never more relevant than engaging with this exhibition: the artist requires an emotional input from the viewer, and so she should, because art, like religion, is dead on its feet if it is beyond the silent drama of catharsis.