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Sruth

Cuireann taispeántas Sinéad Ní Mhaonaigh, Sruth, saothar i láthair a leanann a rannpháirtíocht leanúnach le teanga na péintéireachta féin. Ós rud é go bhfuil sí buartha ó dhúchas faoi cháilíochtaí ábhartha na péintéireachta agus faoin ngníomh fisiceach péintéireachta, seasann Ní Mhaonaigh i gcoinne srianta na hailligéireachta, agus ina ionad sin téann sí i ngleic leis an phéintéireacht mar fhoirm uathrialach agus léiritheach. Is próiseas iniúchta agus molta seachas léirithe atá aici, ag glacadh leis an débhríocht agus an rithim a eascraíonn as gluaiseacht na péinte trasna an dromchla.

Díreach cosúil le file, faigheann Ní Mhaonaigh brí sna spásanna idir gotha ​​agus foirm, san idirghníomhaíocht idir infheictheacht agus ceilt. Le dhá scór bliain anuas, tá focail aonair Gaeilge curtha aici ar a taispeántais aonai agus gach ceann acu ag cur síos ar ghné den timpeallacht bheo: Struchtúr, Braisle, Imlíne, Eatramh, Imeall, Ardán. Léiríonn an foclóir atá ag teacht chun cinn seo a spéis leanúnach i léiriú spáis theoranta — na bealaí inar féidir le péint imill, teorainneacha agus tairseacha a shainiú, a thuaslagadh agus a ath-shamhlú.

I Sruth, faigheann an imní seo beocht athnuaite. Is cosúil go sreabhann na saothair idir teibíocht agus foirm, ag tabhairt le fios tírdhreacha nó ailtireachtaí atá fós gan aitheantas. Osclaíonn na pictiúir spás ina dtagann teanga, sinsearacht agus dearcadh le chéile, áit a mbíonn an gníomh féachana cosúil le sruth a leanúint: ag athrú, leanúnach, agus beo don nóiméad.

Tugann Sruth Ní Mhaonaigh cuireadh do lucht féachana fanacht laistigh den sreabhadh seo, chun an phéintéireacht a bhlaiseadh ní mar léiriú, ach mar réimse smaointeoireachta agus braistintí beo, atá ag forbairt.

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Sruth

Sinéad Ní Mhaonaigh’s exhibition Sruth — the Irish for “flow” or “stream” — presents a body of work that continues her sustained engagement with the language of painting itself. Innately concerned with the material qualities of paint and the physical act of painting, Ní Mhaonaigh resists the confinements of allegory, instead approaching painting as an autonomous and expressive form. Her process is one of exploration and suggestion rather than representation, embracing the ambiguity and rhythm that arise through the movement of paint across the surface.

Much like a poet, Ní Mhaonaigh finds meaning in the spaces between gesture and form, in the interplay of visibility and concealment. Over the past two decades, she has titled her solo exhibitions with single Irish words, Struchtúr, Cnuasach, Imlíne, Eatramh, Imeall, Ardán, each describing an aspect of the lived environment: structure, cluster, contour, interval, margin, platform. This evolving lexicon points to her enduring preoccupation with the articulation of bounded space — the ways in which paint can define, dissolve, and reimagine edges, boundaries, and thresholds.

In Sruth, this concern finds renewed vitality. The works seem to flow between abstraction and form, suggesting landscapes or architectures that remain just beyond recognition. The paintings open up a space where language, ancestry, and perception converge, where the act of looking becomes akin to following the current of a stream: shifting, continuous, and alive to the moment.

Ní Mhaonaigh’s Sruth invites viewers to dwell within this flow, to experience painting not as depiction, but as a living, evolving field of thought and sensation.