Maud Cotter

a pleasure to be part of ‘Shelf’, an exhibition curated by Neil Zakiewicz in an eclectic mix of spaces @_domobaal_ niche doorway redundant fireplace recess corner window frame ceiling landing stairwell walls and all 1, Maud Cotter, ‘parts’, aeroboard, aluminium, sponge, 95 x 28 x 27cm, 2026 2, Neil Zakiewicz, Maud Cotter, Alison Wilding (l - r) installation shot 3, Alice Wilson, ‘Christmas Cactus’, timber, jesmonite, paint, jesmonite paint, 24.5 x 24.5 x 9.5cm, 2026 4, Alison Wilding, ‘Tablet 5’, bronze, crystacal, wood ash, 29 x 26cm, 2009, courtesy alison jacques gallery 5, Dominic Beattie, ‘Ersatz Ceramics’, ink, spray paint, cardboard, found wood, 32 x 122cm (overall dimensions), 2019-20 6, Fabian Peake, ‘Flat Bed Cargo’, plywood, carved wood, nails and commercial paint, 52(h) x 60 x 35cm, 2017 7, Karolina Albricht, ‘Properties of Distance and Contact’, birch ply, oil paint, horse hair, 16(h) x 53.5cm, 2026 8, Maud Cotter, ‘unseen’, aeroboard, insulation board, dragon skin, rubber, aluminium, birch ply, paint, 20 x 24 x 21cm, 2023 9, Mhairi Vari, ‘Prop’, wage slips, plain flour, cardboard, wood, matt lacquer, rubber hen egg, 2026 10, Neil Zakiewicz, ‘Claywork’ (c2), wood, terracotta, 100(h) x 47 x 47cm, 2018 11, Nicky Hirst, ‘Little Fuckers’ (teak), 31 x 50 x 15cm, 2026 12, Phyllida Barlow, ‘Not Yet Titled’, wood, metal and graphite, 50 × 255cm, 2017 13, Richard Woods, ‘Stone Works’ (x8), plywood, acrylic paint, water-based resin, dimensions variable, 2026 Images 2, 5, 6, 7, 9, 10, 11, 13 - Andy Keate, photographer Images 1, 3, 4, 8, 12 - Maud Cotter @alice_m_wilson @alisonrewilding @dominicbeattiestudio #fabianpeake @karolinaalbricht @maudcotter @mhairi_vari @neilzakiewicz @nickyhirst63 @nickyhirst_elementalworks @electionartist2019 @phyllidabarlowestate @richardwoodsstudio #domobaal #domobaalgallery #shelf #londongallery

enjoying last days of installing with assistance aplenty: here: #untitled by Phyllida Barlow (2009 approx) very private collection, London SHELF 14.02.26 - 28.03.26 domobaal is delighted to present 'Shelf': Alice Wilson, Alison Wilding, Dominic Beattie, Fabian Peake, Karolina Albricht, Maud Cotter, Mhairi Vari, Neil Zakiewicz, Nicky Hirst, Phyllida Barlow and Richard Woods, in an exhibition curated by Neil Zakiewicz. 'Shelf' follows on directly from 'Big Names', Neil Zakiewicz's fourth solo exhibition in the gallery, drawing attention to his ongoing curatorial practice alongside his artistic practice. The selected artists span a range of ages and career stages, yet they all question the traditional hierarchies of painting, sculpture, and design, moving fluidly among these media. Working with ceramics, found objects, plaster, paint, and wood, they incorporate the shelf directly into their works. Rather than treating the shelf as a peripheral support (a mere afterthought), it is integral to the work from the outset; the shelf, therefore, is the subject. One could also say that the artists are solving the eternal problem that faces sculptors of how to present sculpture sympathetically with the environment. Their concern is not only with the shelf, but the gallery itself – the building that is outside their control. This approach aligns with installation art's awareness that the gallery is a non–neutral space, echoing Brian O'Doherty's scepticism toward the notion of a homogeneous, sacral white cube (Inside the White Cube, 1976). Instead of allowing objects to passively rest for easy consumption within the gallery, they are placed in tension with its ambiguously defined environment. One could argue that the shelves presented in this exhibition both protect and absorb the works, like anchored ships in a harbour. @alice_m_wilson @alisonrewilding @dominicbeattiestudio #fabianpeake @karolinaalbricht @maudcotter @mhairi_vari @neilzakiewicz @nickyhirst63 @nickyhirst_elementalworks @electionartist2019 @phyllidabarlowestate @richardwoodsstudio #domobaal #domobaalgallery #shelf londongallery

‘ART IN THE CAN’ conceptualised by A. Hunt, M. Healy, Alex Rose sited itself on the edge of the urbanity opening interior moments, in three installations each lasting roughly one hour (24.01, 28.01 & 31.01) “For this was a city in which all authority was to be dissolved, all convention suspended; in which change was to be continuous and order, simultaneously, complete; in which the public realm, become superfluous, was to disappear and where the private realm, without further reason to excuse itself was to emerge undistinguished by the protection of façade.” - Collage City, Colin Rowe and Fred Koetter Images: 1 & 2 : 107 [M. Healy] with Brian Sheehan musician 3 & 4 : Alex Rose 5 & 6 : A. Hunt with Sophie Longwill + Sophie Hutchinson

it has been a great pleasure to work in the Highlanes Gallery, Drogheda .. so much air and flow in that space - - what a team - deeply committed to meaning and its exploration - Il’l be there on Saturday 25th afternoon accompanied by domo baal of DOMOBAAL gallery, and Emma Hill of The Eagle Gallery, London - you are welcome to drop in. a special thanks to Aoife Ruane, Director of Highlanes Gallery - and to Stephen, Simon, Colin, Gary, Ann, Cillian, Shea, the second Simon and Michael Healy - not forgetting thanks to domo baal of DOMOBAAL, and Rebecca Geldard _ also _ Caitlín Doherty, Executive Director, Ylva Rouse, Exhibitions Curator, Museum of Contemporary Art, Jacksonville, Florida, USA. and Hellen Carey, Director of National Sculpture Factory, Cork. 1-2 ‘maelstrom’ birch ply, canvas 340 x 340 x 724cms studio assistant: Angela Fulcher, artist. technical consultant: Michael Healy, artist. 2023 - 2024 photography: Denis Mortell 3 ‘all things seem to touch so they are’ aluminium, stainless steel 175 x 490 x 175cms 2025 studio assistant: A. Hunt, performance artist, sculptor technical consultants: William Cotter, Rónán Ó Caoimh photography: Denis Mortel 4 ‘what was never ours to keep, revisited’ steel, rubber, string, birch ply 724 x 1200 x 550cms 2022 - 2025 commissioned by the Museum of Contemporary Art, Jacksonville, Florida, USA fabricators: Posner Brothers, USA. engineer: Kevin Dolan photographer: Eugene Langan @highlanesgallery @_domobaal_ @mocajax @emmahilleagle @nationalsculpturefactory @coraclepressbooks @cultureireland @artscouncilireland @corkcitycouncil @droghedacitycouncil @aosdana #domobaal #aoiferuane #rebeccageldard #maudcotter #caitlíndoherty #ylvarouse #helencarey #bitedesign #denismortell #eugene.langan.photography #bodies_and_objects #room107.mh #angelafulcher #ronanocaoimh #st.jean #dominicfeeart

At Casino Marino, Dublin. Echo, Eithne Jordan. Curated by Margarita Cappock. a stellar fit, Echo, locates itself within the inner membrane of this eighteenth-century neo- classical building / paintings which open further rooms within rooms / inferred presence yet absence of human form places one in critical role of participant to painting as a place of enduring search for meaning. A Must Experience Exhibition. #eithnejordan @casinomarinoopw #margaritacappock #maudcotter @dublincityartsoffice @aosdanaireland @opwireland

when one finds a space that allows the work to become itself - such a circumstance allows a stretch in perception, steps forward in understanding the nature of physical reality. This piece is titled. ‘all things seem to touch so they are’ aluminium, stainless steel. 175 x 490 x 175 cms 2025 thanks to Highlanes for providing that arena through the work of Director Aoife Ruane | Gallery Manager Stephen Hodgins | Technician Simon Elliot, and a host of committed staff | additional thanks to domo baal of DOMOBAAL | Rebecca Geldard, critic and writer | Director Caitlín Doherty of Museum of Contemporary Art, Jacsonville, Florida for commissioning ‘what was never ours to keep’ | a special thanks to my collaborators Coracle Press, Simon Cutts and Erica Van Horn | Director Helen Carey, and Rónán Ó’Caoimh Technician of the National Sculpture Factory | Michael Healy who collaborated with me on designing a screen system, | Bite Design for the layout of the text | thanks to my studio assistant sculptor, and performance artist A. Hunt | Jennifer O’Sullivan and Dominic Fee, printmakers | Billy Cotter, brother and technical advisor | Claire Power, administrator #highlanesgallery #_domobaal_ #mocajax #caitlíndoherty #ylvarouse #nationalsculpturefactory #helencarey #corkcitycouncil #artscouncilireland #aosdana #coraclepressbooks #bitedesign #maudcotter #rebeccageldard #room107.mh #bodies_and_objects #dominicfeeart

maud cotter: maelstrom 23rd August - 1st November This major solo exhibition by artist Maud Cotter-maelstrom-presents a group of works which seek to examine the complexity of the present, and engages with the complexity and form of change as process, with works that reference the dual directionality of time, and the relational nature of matter. This exhibition of large scale works by this established Irish artist responds to the complexity and spatial range of the site of Highlanes Gallery across its two floors. Integrated into the exhibition is a stream of engagement with the historic and contemporary work from the Drogheda Municipal Art Collection. Within the exhibition of new and recent large-scale sculpture and installation is the eponymous work - maelstrom which Maud Cotter describes as ‘a spiral, a whirling stream’. She adds ‘this phenomenon I see as an expression of the nature of change, a complex form which expands and ingests space; a dual directional dynamic, ingesting spent form and offering a different conceptual direction’ Rebecca Geldard has written recently on Cotter’s practice - “‘Interconnectedness, at the molecular level, is the driver of Cotter’s sculptural enquiry; manifesting moments of “imperfect geometry” at the core of where things, beings, ideas and environments meet. Whether daring to ‘draw’ this massively in metal, manufacture it through the placement of pre-existing materials, or orchestrate the essential bits in between, any sense of artistic coercion is only ever, and oh so lightly, custodial, however hands-on the process. Each fixing, inscribed section, loop of archi-graphic script, is allowed to speak with its own energy as part of a quietly insistent ensemble cast, leading us beyond the need for meaning and on towards a collective sense of being in the thick of it – soaring, spiralling, feeling that all things seem to touch so they are.”

maud cotter maelstrom at Highlanes Gallery in Drogheda, Ireland .... day 3 of 5 of the install with all going extremely well. (many thanks to @room107.mh among many many others) opens saturday 23 august with @appleandhat ferried over the waves for an in-conversation soon after 3pm 23.09.25 - 01.11.25 works lists and installation shots soonish #cantwait #maudcotter #maelstrom #rebeccageldard #highlanesgallery #louthcountycouncil @aoiferuanehg #aoiferuane @louthcountycouncil #irisharts #artscouncilireland @artscouncilireland #nationalsculpturefactory @aosdanaireland #aosdana #suminagashi #marbling #ink #inkandwater #sculpture #installation #drawing #domobaal #domobaalgallery

a very rich experience to be part of SLANT AS IN A SLOPE THE DEGREE TO WHICH SOMETHING RISES UP FROM A POSITION LEVEL WITH THE HORIZON a solo exhibition by nicky hirst, at DOMOBAAL, london - 06.06.25 - 19.07.25. image 1. maud cotter, ‘all that is necessary’, card, resin, 70x50x10cm, 2001. photography, Roland Paschhoff. parties with nicky hirst’s ‘masquerade’, ball chain, 85x85cm, 2025. + image 2. wrought iron window grille, , metal, paint, 65x65cm, southern europe, likely spain, 15th century. (kindly loaned by sam fog). in a relationship with nicky hirst, ‘wrought’, enamelled metal and plastic, 2025. + rebecca geldard’s essay ‘custodial marks’ (2022) offers a timely reminder of nicky hirst’s appointment as election artist 2019 and her exhibition ‘the electorate’ (2022). + alex rich will be presenting a selection of pairings from nicky hirst’s archive in the form of an atoma notebook publication – one in the gallery and others available to order. installation photography by Andy Keate @andy.keate @nickyhirst63 #nickyhirst63 @maudcotter #maudcotter @andy.keate @roland.paschhoff #domobaalgallery @domobaalgallery @samfogglondon @nationalsculpturefactory #nationalsculpturefactory @highlanesgallery #highlanesgallery #maelstrom

It has been a glorious week of sunny walks to the NSF every morning - working on my forthcoming exhibition for Highlanes Gallery, Drogheda … opening in August this year. #domobaal #domobaalgallery @nationalsculpturefactory #nationalsculpturefactory #corkcity @highlanesgallery #maelstrom

Bill Albertini ‘Pipe Dream System’ from ‘Baroque-O-Vision Redux’ @newartprojects until 24 May this installation facilitates a latent energy with propagative drive Ed Atkins ‘Refuse.exe’ @tate until 25 August presented as a piece of “stripped back theatre” Alice Wilson: ‘Hegemonic Log(s) And Two Benches’ @domobaal until 10 May a conglomerate of cut-cast pieces, though mute are tenaciously performative ‘The Craft of Carpentry: Drawing Life from Japan’s Forests’ @JapanHouseLND until 6 July has to be seen to be believed @bill_albertini @alice_m_wilson #domobaal @edatkinsdiet #TateBritain #JapanHouseLDN

unsettling and spectacular are two words that come to mind on viewing this series of jacquard tapestries by Ailbhe Ní Bhrian @ailbhenibhriain , ‘The Dream Pool Intervals’, @thehughlane , 27 March – 28 September (Solo)… a must see #AilbheNíBhriain #TheDreamPoolIntervals #HughLaneGallery #domobaal #domobaalgallery