Cork's dreams take shape

Cork has a good record in the visual arts. Historically, the city produced a more than respectable number of fine painters and sculptors. More recently it has maintained a healthy level of contemporary arts activity. UCC has recently beefed up its visual arts programme, for example. Cork has a fine third level college in the Crawford School of Art. Then there is the exceptional number of artists resident in the area, from the Costa del West Cork to the remarkable concentration of talents out on rugged Beara.

Yet, despite all this, and Cork's native pride, the city has never really developed a thriving market in contemporary art, particularly towards the cutting edge of the contemporary. It is not unique in this respect. Traditionally, the commercial art market in Ireland is centred around Dublin. Even a major commercial gallery with Northern antecedents, the Kerlin, inevitably gravitated towards Dublin.

This is not to say that there have not been good commercial galleries in Cork. The Lavitt Gallery, for example, has done much good work, but, like its companions, it has done so by working on a relatively small scale. Yet just this year there have been signs that hint at a change. First there was the Vanguard Gallery's move from Macroom into the heart of Cork city, to a fine 1,400-square-foot premises in Carey's Lane, between Patrick Street and Paul Street.

But the most interesting thing is that Quinlan's is not a voice in the wilderness, as, for example, the late David Hendriks's was when he attempted a Hendriks Gallery South several decades ago. For one thing, Quinlan is a local. Also the visual arts in Cork are due to get a shot in the arm when the Crawford Gallery's spectacular new extension, opens towards the end of June. Third, Quinlan is not the only one.

Just as the Crawford completes its major extension, its erstwhile exhibitions officer, Nuala Fenton, has taken the plunge and opened her own commercial gallery. The Fenton Gallery is in an interesting building in an interesting location. Wandesford Quay is relatively central, but, psychologically, pushing the definition of central.

The rash of new buildings along the quays, including block upon block of apartments, reflects the city's surprised rediscovery of the river. The balconies stacked above the South Channel of the Lee offer the prospect of relaxed city living, in stark contrast to, for example, the blank, ugly brown wall of the Merchant's Quay centre that looms over the water uptown, a spectre from an earlier era of development.

It's interesting as well that the building is owned by the Corporation. "The Corporation," Fenton says, "are the heroes of this. It's not a rich corporation, yet they took on the development of this whole site. Jack Higgins, then the city manager, arranged for them to purchase the building."

The horseshoe of buildings around a spacious courtyard includes the gallery, three floors of artists' studios overhead, a print studio and a sculpture workshop. The idea was that one commercial lease be included in the overall development.

Fenton, overseen by her seven-member board of directors - "businesspeople who have an interest in the arts, including Peter Barry and Tom Kavanagh" - rents the gallery space from the Corporation. Its refurbishment, though, was her own concern, and she was involved in the process on every level. "It was challenging," she admits. "But we had a brilliant, very creative builder. I loved the space and wanted to preserve the industrial character of the building. Now I feel I know it inside-out."

The 2,000-square-foot space flanks the courtyard, and opens out onto it. It is bright, with a beautiful, bleached oak floor. "I was conscious of the relatively low ceiling, so I wanted nothing that would drag it down, hence the pale floor." The gallery also includes two useful vaulted rooms on a lower level, ideal for installation work. An integral part of the plan is that the space will incorporate a coffee shop, and perhaps a wine bar, that will spread out into the courtyard.

"I've been involved with this idea for nearly two years now," Fenton explains. "It was clear that Cork could use more venues for contemporary art. I know that historically there is this pattern of people buying art in Dublin, but a whole variety of factors makes me think that can change. I think there is now an audience in Cork ready to deal with new media, with challenging work." Not that she restricts her potential audience to Cork - she aims to bring in artists, and perhaps buyers, from abroad.

Her first show features work by two of the most highly regarded Irish artists, sculptor Dorothy Cross, who is from Cork, and painter Charles Tyrrell, who lives close to Allihies. He is showing an outstanding body of new work, paintings on aluminium, while she is showing a selection of work from the last decade, including a video and model of her Ghost Ship, which was moored off Dun Laoghaire two years ago.

"The opening was wonderful," Fenton says. "There was huge interest and goodwill all the way along, and a palpable air of excitement. I'm particularly pleased that the show has sold well. To see Dorothy, a Cork artist, who has work in the Tate Modern, come back here and sell work in her native city is particularly gratifying."

Dorothy Cross & Charles Tyrrell are showing at the Fenton Gallery, 5 Wandesford Quay, Cork, until June 23rd.