Ormston House

@ormstonhouse.com

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Ormston House is a meeting place for the arts in the heart of Limerick city. Queries to info@ormstonhouse.com

A group of people in Ormston House for the preview of 'Energy Made Visible'. There is a vitrine in the centre of the image and a large window in the background.
Laya smiles at the camera. She has long dark curly hair and is wearing a blue cardigan and black jeans. She is posing with her hands on her hips.
Three people sit on a stage in conversation. From left to right: Luka Bloom, Pádraic E. Moore, and Susie Kennedy. In the background there is a projection of a black and white image of a festival stage and crowd. In the foreground an audience watches the speakers.
Two people participate in a workshop with artist Mary Conroy. They are placing objects on a soil based installation.
A light brown vitrine contains objects from the Irish anti-nuclear movement. Inside the vitrine to the left a white t-shirt with blue and green text in a circle reads ‘BACK TO THE POINT’ and ‘NUCLEAR POWER NO WAY’, in the centre there is a hand symbol. To the right there is a black vinyl record that reads in white text ‘ANTI-NUCLEAR’ and ‘12” SINGLE’, with the nuclear energy symbol in yellow and black.
A multicoloured painting of a dog resting on an armchair hangs on a white and pink wall. A glass jar containing paintbrushes is to the left of the image. A cardboard box, paint palette, and a paintbrush are in the centre foreground of the image.
A black and white image depicts a festival stage in the background with a crowd of people sitting on the grass in the foreground of the image
An installation view of ‘Memory of a Free Festival’ at Ormston House. Several multi-media artworks are displayed in an off-white room with a grey floor. There is an ornate pillar in the centre of the room.
Four photographs are presented in a grid format on an off-white wall. The images depict vandaisled stone monuments and marks left from fire pits on the ground.
Two iterations of ‘Breath’ are in the foreground and background of the image depicting a dark silhouette of two people's mouths. The background is a yellow-orange. A TV screen can be seen in the mid-ground of the image. An ornate pillar is to the right of the image.
An installation view of 'Memory of a Free Festival' in Ormston House. Several multi-media artworks are displayed in an off-white room with a grey floor. There is an ornate pillar to the left of the room. A person in a green coat and grey jeans stands in the centre of the room.
Two screens are displayed on a metal structure. On the left screen black writing on a white background reads 'PURPLE LUNAR HALO' text repeats and swirls to the centre. On the right screen orange writing on a white background reads ‘KODAK MOON’ text repeats and swirls to the centre.
The image depicts a polaroid of Poolbeg nuclear power plant stapled to an image of ‘Night’s Candles Are Burnt Out’ by Seán Keating, which depicts several workmen involved in the building of the Shannon hydroelectric scheme at Ardnacrusha.
Isabel Nolan poses for the camera. She is wearing a blue blazer, and a pink shirt, she has light brown shoulder length hair. In the background there is a colourful painting hung on an off-white wall. In the foreground there are paintbrushes in glass jars on a table top.
A black and white archival image of the 1978 Carnsore point anti-nuclear festival. Depicting a festival crowd surrounding and throwing stones onto a pile, forming a cairn.
Orla Barry talks with curator Caimin Walsh. Orla Barry has shoulder length brown hair and is wearing a leather jacket. Caimin Walsh has short brown hair and is wearing a green shirt. Several framed artworks are in the background on an off-white wall.
Daniel Tuomey performs ‘Stuck, an excavation’. Tuomey holds a charcoal drawing. He is wearing a black t-shirt, jeans, and socks and is crouched on the ground. In the background there are charcoal drawings hung on black walls. A multi-media sculpture is to the right.
A black and white archival image depicts a festival crowd sitting and lying on the ground. The crowd is attending Carnsore Point anti-nuclear festival in Co.Wexford.
An installation view of Laura Fitzgerald’s presentation for Supermarket Art Fair, 2022. Colourful drawings sit on grey walls on the left and right background. A multi-media installation sits on the floor in the foreground of the image.
Yellow text reads "MEMORY OF A FREE FESTIVAL", "ORMSTON HOUSE", and "18th April - 20th June". The yellow text is on a black background.
Four people sit in front of a large screen showing footage of a festival crowd. Frank Connolly, Susie Kennedy and Christy Moore are all being interviewed by Pádraic E. Moore.
Gary Farrelly, Julia Zinnbauer and Chris Dreier pose in front of a large grey building. Sarsfield House is written in blue lettering on the side of the building. There are trees and shrubbery to the left and right of the image.
Esti looks at the camera. She has dark brown curly hair tied up, and is wearing glasses and a grey jumper. She has gold earrings.
Archival poster of Carnsore Point anti-nuclear festival in Co.Wexford, 1978. Depicting black and white images of festival crowds and music line up. Black and white text is on a multi-coloured background.
The image features a billboard depicting a red smiling sun surrounded by black text in a yellow circle, on a black background. The text reads CUMHACHT ADMACH? UAFÁS (NUCLEAR POWER? NO THANKS in English). The billboard is presented on a blue exterior wall.
Several people playing various instruments as part of the Synthesize_Her workshop.
A silvery grey liquid forms the word "CRONE" on a pale grey background, it is rotated in the image. Additional text overlays the image.
. Still from 'Beauty Becomes the Beast', 1979. Courtesy of Vivienne Dick. A Super 8 film scan depicts a person with short dark hair looking to their right. They are wearing a black top and necklace.
Shirani Bolle holds a crocheted pink microphone. She has dark brown shoulder length hair and is wearing a multi-coloured outfit. There are two multi-media, colourful sculptures in the background.
A silvery grey liquid forms the word "CRONE" on a pale grey background. The text is rotated in the image.
An audience watches two women talk on two separate couches. To the left an interpreter signs the conversation.
In Ormston House, Susan MacWilliam and Jacqui McIntosh are in conversation.
Susan MacWilliam and Jacqui McIntosh pose together in a room decorated with ornate picture frames. MacWilliam has shoulder length red-blonde hair and is wearing a navy top and jeans. McIntosh has shoulder length brown hair and is wearing a long black dress.
The image features a logo of a red smiling sun surrounded by black text in a yellow circle, on a black background. The text reads CUMHACHT ADMACH? UAFÁS (NUCLEAR POWER? NO THANKS in English).
A series of multi-media artworks by Susan MacWilliam are presented in Ormston House. A vitrine sits in the foreground of the image. A mixed-media installation comprised of plywood platforms and spheres is presented in the midground. In the background to the left, a constellation of artworks on shelves, and to the right a felt banner are installed on an off-white wall.
Various sculptures sit in a display case depicting hands, books, rocks, and spheres. The artworks sit on black felt background with white stitching. The artwork is titled: Geraldine C: Rocks and Vortex, and is a homage to Geraldine Dorothy Cummins an Irish writer, suffragist, and psychic medium.
Various items are presented in a display case, including books and postcards. One book features a floor plan diagram with a lens placed on top, and the postcards have black-and-white photographs of women.
A display case includes fifty-six spheres printed with images of women’s faces. The spheres rest above an image of five women reading in a drawing room.
Ormston House logo
A dark felt banner is installed on an off-white wall in Ormston House. It is stitched with an annotated diagram of a laboratory in yellow and white thread.
A series of artworks by Susan MacWilliam are presented in Ormston House. A mixed-media installation comprised of plywood platforms and plastic spheres is presented in the foreground. In the background, a constellation of artworks are installed on shelves on an off-white wall.
Three sculptures of hands holding books installed on an off-white wall in Ormston House. There are sculpted leaves under each pair of hands.
A group of people in Ormston House for the opening of 'Table Turning'. A sculpture comprised of plywood platforms and plastic spheres is presented in the foreground.
In Ormston House, the five members of The Parsley Collective stand in a tight circle in various positions.
Ian Lynch and George Brennan perform at Ormston House in low lighting. In the foreground, Lynch sings into a microphone, surrounded by sound equipment. In the background, Brennan plays a synthesiser. Lynch has a beard and wears a dark hoodie and dark snapback cap. Brennan has a beard and wears a dark-grey top.
A design based on a diagram of a séance room on a blue background. Text in the centre of the image reads "TABLE TURNING", "SUSAN MACWILLIAM", "21 NOVEMBER 2025 – 21 FEBRUARY 2026", "EXHIBITION OPENING: 20 NOVEMBER, 7–9PM". The Ormston House logo is in the top-left corner, and the logos for The Arts Council of Ireland, Limerick City and County Council, and Limerick Arts Office are in the bottom-right corner.
A bronze sculpture set in limestone in the style of a Hollywood star with the name 'CONSTANCE SMITH' is installed in a flowerbed in People's Park. Red roses are laid on either side.
In Ormston House, Artistic Director Pádraic E. Moore speaks to an audience. He sits behind a table draped with a multicoloured quilt. Sitting to the right behind the table are Nathan O'Donnell, Sarah Pierce, and Roy Claire Potter.
An installation view of 'Bíodh Orm Anocht' in Ormston House. In the foreground, there is a sculpture comprised of ash dowels and a glass rod holding pink salt rocks. A stack of posters and a granite and ceramic artwork are presented at the base of two pillars. On an off-white wall to the left, there is a large, graphite drawing with paper circles and lines. A transistor radio and three tubular ceramic sculptures are installed on a wall to the right.
In Ormston House, a blurred figure looks at Kiera O'Toole's 'Affective Cartography: Limerick', a large artwork on an off-white wall comprised of abstract graphite shapes and paper circles and lines. The figure has short, dark hair and wears a dark-green jumper and light-brown trousers. To the left of the image, Ciarán Ó Dochartaigh's artwork 'An Loch Fada Thoir' is presented as a small stack of posters at the base of a central pillar.
A stack of three books on a dark-brown and green surface. The cover depicts a desk holding numerous objects, including a chair and a framed black-and-white portrait. Black, serif text on the cover's red background reads 'Sarah Pierce: Scene of the Myth'.
In Ormston House, a woman looks at a black transistor radio installed on an off-white wall. She has long, brown hair and wears glasses and a light-green jumper.
A black-and-white photograph of Constance Smith by a riverside. She holds the rope of a rowboat in one hand and a pair of glasses in the other hand. She smiles, with the tip of a glasses handle between her teeth. She has dark, shoulder-length hair and wears a patterned dress. The left of the photograph is signed "C Smith".