A Community of Hope Artists for Dublin Simon

Famous artists donate their pieces for charity. Make a bid and help Dublin Simon open doors this Christmas

Dublin Simon Community is inviting everyone to support its life-saving services through ‘A Community of Hope: Artists for Dublin Simon’. With over 40 unique works from renowned Irish artists, there’s something for every budget.

Whether you’re an art enthusiast or simply looking for a meaningful piece, this auction offers a chance to own a work by your favourite artist while helping those in need. Bidding opens on 28th November at Gormley’s Fine Art and runs until December 10th.

Art Exhibition

Date: Bidding starts November 28th and closes December 10th
Place: Gormley’s Fine Art
Where: 27 Frederick St S, Dublin 2, D02 EP03

Online Auction

Date: December 10th

Irish icons such as Guggi, The Corrs, Imelda May, Liam Ó Maonlaí, Angeline Ball, Mary Coughlan, and Gavin Friday have all pledged their support by donating pieces to the auction, standing united in their commitment to help the most vulnerable in society.

Artwork from over 40 artists to be auctioned in support of essential homelessness services.

The inaugural event in 2023 garnered overwhelming support, with over €40,000 raised.

Preview and bid on the artwork at Gormley’s Fine Art from 28th November until 3rd December.

I’m interested in process and materiality in printmaking, I’ve previously worked in letterpress, but returned to screen printing in 2017. You can find me applying or adapting an image-making technique, and then discovering ways to undermine, abuse, and subvert it. I love a happy accident, and the hands-on nature of manual screenprinting means that accidents are all too common. I’m disinterested in rigorous adherence to consistency in a world of perfect reproduction. Which is convenient. I screenprint everything personally – which makes for a bit more variability than a master printer would produce, but I come from a background where everything I created has been precisely identical, so the human charm of the unique holds much more appeal. That said, plenty of rejects never see the light of day. I tend to produce very small editions, and move on to something new. I’m particularly drawn to special finishes – gilding, bronzing, pigment and diamond dusting. I’m also interested in combining processes and crafts that generally don’t get to hang out together. Typically my work involves a computer somewhere along the line, and then that gets dragged over some old-school manual coals.

I make images. I’m usually guided more by formal and emotive considerations than narrative ones, in creating pieces. They’re obviously works of art, but I’m far more comfortable wearing the printmaker, or image-maker cap than the artist’s one. I employ the skills of a visual designer, and consider what I’m doing more of an extension of that, than something I’d understand as Fine Art. But none of that really matters, if the work speaks to you.

Alastair Keady ‘Bolstar’ Screen Print and Gild on Artist Wood Panels

I began painting full-time five years ago, deciding to solely focus on this passion. Designing clothes had begun to feel repetitive and the helping profession had never been my primary interest. But this collective experience developed my artistic focus, my paintings now a relationship between what I interpret during brief encounters, and a curiosity of what others might see if I put that encounter in paint. They're literally the footpath of my life, depictions of where I've traveled and who I've met along the way, a crafted record of interesting people caught in fleeting moments, sometimes a glimpse into their psyche for the viewer to analyze or relate. My art represents collective connectedness, which seems a current deficit in the world. I want my art to serve as a reminder of the responsibility we have to each other. We need to slow down and pay attention to each other, to catch the tiny details that make each of us unique and worth knowing.

Carmen Havens 'Young Buskers on a break’ Oil on Canvas

Creating artwork is intrinsic to my beliefs and hopes for a more positive world. I’m primarily a painter, and the act of making an image and a physical object with permanence like a painting, from seemingly nothing more than canvas, pools of paint and imagination still feels surprising to me just like a magic trick and it is this unexpectedness that motivates me to make artworks.
My work is influenced by my research into the past works of Surrealism and how they exploited the redundant and dusty nature of old bourgeois paintings and re-invented them.
Themes include adopting the mysterious and uncanny, alternative views of nature where hybridity thrives.
Artworks are also triggered by my own personal life experiences and what it is to be a female artist in the 21c. There’s also a critical commentary that reflects the effects on the human psyche of today’s hyper-modern world with the seemingly overwhelming endless plentitude of consumerism and the technocratic element of today’s society.
My aim is to give notice and meaning through the unexpectedness of imagery to the viewer and in some way a reflection and pause for thought on our own values and how we exist today.

Melissa O'Donnell 'Punk Rock' Oil on Canvas

Over my time as an artist the work I have produced has been structured into groups or series of paintings. The series I’m currently working on is mostly geometric in nature and has an overall landscape structure to it. My work generally tends to be suggestive, I feel it absorbs places I’ve been to, experiences I’ve had and ideas and images I come across. My process of painting embraces both logic and reason but also chance and accident.

I allow myself to be guided by each individual piece. The work itself exists on the borderline between abstraction and representation but also between real and spirit worlds. It allows for magic to have a role its creation. I want my work to operate as a doorway, to invite the viewer into a new space, to offer an invitation to journey.”

His work process is largely intuitive, the act of painting for him starts a process of discovering unintended connections and relationships, of searching for reason and meaning in the unique situation that emerges. The first marks and compositions create the environment for a process that requires him to constantly re-evaluate what’s important so he can find out what the painting will be.

” Climent is a remarkable colourist. His work is quietly uplifting, even spiritual. It offers a glimpse into another beautiful and majestic dimension. “

Tom Climent ‘Aura’ Oil, Plaster, Collage on Board

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