Isabel Nolan - flotsam, jetsam, lagan and derelict

Declan Long has noted that Isabel Nolan’s ‘focus on emptiness and meaningless in the work is fitting to the name of the gallery; Void’. Within her work, Nolan searches for possible readings and explanations of life as we live it. She creates her paintings as potential interpretations of the diverse subjects that she explores but does not want these works to simply be accepted. She invites us to engage, to question and to challenge what she creates as we embark on a dialogue with her.

Nolan’s work references philosophy, archaeology, physics, mythology and theology and these themes invite intellectual engagement, consideration and thoughtful response. The installation and layout appears connected to archaeology. The artist has created small sculptural forms that are akin to found objects or artefacts. These are placed under glass in display cases on the ground and within this context, we as viewers feel that we are involved in their discovery. There are also process-based drawings and investigation sketches in vitrines and within glass-topped display tables that again reference an unearthing of ideas, symbols, subjects, colours and forms. Indeed one of the saints that are referenced in the exhibition is Saint Jerome, a patron saint of archaeology. Kevin Burns in his recent review of Nolan’s exhibition argues that ‘paintings intrinsically command attention because they are ‘alpha-art’…right there at eye level usurping the authority of the wall’ (Visual Artists’ News Sheet, Jan-Feb 2023). It is likely that his contention has been sparked by the presence of a lion, considered the signature alpha animal, in one of the key paintings of the exhibition, Desert Mother (Saint Paula) and Lion, 2022. This painting depicts Saint Paula who

Isabel Nolan

has been described as the early ‘desert mother’. She can be glimpsed in a darkened cave with an open book in her hands; her eyes appear to glow as she reads. Outside the cave a lion, that represents Saint Jerome proudly sits, his gaze confronting the viewer directly. The painting references the first translation of the Bible into Latin that was long credited to Jerome. The artist, however, is focused on the accurate revision of this story by contemporary historians where Paula and Jerome were both recognised for this translation. The contribution of Paula was largely overlooked historically so within this panting she is afforded parity. The treatment of the forms on the canvas creates a layered dynamic. The sun dominates a third of the composition and it sets over a rocky landscape containing two caves. The colours cast upon the centre of the painting create a multi-coloured patchwork that delights the eye. While the lion dominates the centre of the composition, his presence does not spark significant discussion. It is the figure of Paula, framed within the dark space of the cave that is the primary focus of the work. She is enigmatic and obscure yet this painting tells her story, finally.

Another painting depicts St. Columba, the patron Saint of Derry, who is credited with spreading monastic Christian culture in Ireland and Scotland (and overseeing the emergence of an Irish historical record). He features within a bright wave of yellow and turquoise that appears within the blue, fish-filled sea and its surrounding depths. Entitled He could see behind himself (St Columba), 2022, this references Columba blessing Ernene, son of Crasen at Clonmacnoise who attempted to approach him unseen from behind during a procession. Columba sensed his approach and blessed his tongue so that he could spread the faith. The religious references within these paintings are echoed in the titles, scenes depicted, and the treatment on the canvas which resonates with the high colour and translucency of stained glass.

A number of works reference mythology, for example Eurydice (dead again) and Orpheus, 2022. In this painting Nolan depicts the moment where Orpheus has managed to bring Eurydice back from the death by leading her from the Underworld but he is so delighted to see the light of day that he turns to share his happiness with his soul mate. Through doing this he breaks Hades’ condition that they could not look back and hence Eurydice is dead again and lost forever. The figures look stricken at their painful loss and the painting is split between the cave that marks the entrance to the underworld on the right behind Eurydice and the daylight landscape on the left behind Orpheus. Another tragic myth depicted by the artist is entitled Oh Icarus. This painting is hung high in a space between the galleries and its’ placement suggests that Icarus is captured on the canvas at a key moment during his descent from the skies. The top half of the painting shows his upside down torso with arms outstretched, and head obscured by his wings as he plunges into the depths of the ocean. The sea that surrounds him is beautifully rendered; full of fish and colour but like Eurydice this painting marks the end of Icarus.

Throughout the exhibition the drawings and paintings are defined by high colour. Nolan explains that ‘colours have energy’ and she is selects them intuitively. Bright colours are not intended to signify joyful moments however, conversely often the darker the theme the brighter the exhibition has been. Being human and alive is quite difficult and the works could be seen as a symbol of generosity to engage and attract the viewer, an ‘act of solidarity’, so to speak. This is a fascinating exhibition that resonates with the viewer when encountered but continues to provide food for thought beyond the gallery space.

The exhibition ran at Void Gallery, Derry. For further information contact 028 7130 8080. 