The title for this exhibition is borrowed from a line in Seamus Heaney’s poem, Field of Vision.

An artist’s vision is something that’s often discussed. Indeed it might be the most essential job of their work: framing their perception to provide insight.

Colour field work uses large areas of flat colour to evoke mood and space. Egan’s bold planes, O’Sullivan’s and Keady’s tonal layers, and O’Malley’s rhythmic flows all draw on this, prioritising sensory impact over depiction.

In the context of our presentation  “field of vision” links directly to both artistic vision and colour field work: it frames the artists’ perceptions as bounded expanses, like Heaney’s window.  It’s also defined as all that can be seen with eyes fixed in one position. 

Heaney’s elderly aunt, that informed the poem, sat for years in her wheelchair, gazing straight out the window at sycamores unleafing and leafing, past the agitated hawthorn bush, calves with backs to wind and rain, ragwort fields, and the same mountain. From this limited view, she learns things she’d not known before—steadfast focus turning her view into “distinctly strange,” an education gained across the well-braced gate of her window frame.

These Graphic Studio prints offer equivalents: etched frames and colour fields as fixed fields of vision. Intense looking at O’Malley’s organic rhythms, Egan’s vibrant signs, O’Sullivan’s measured marks, or Keady’s tensions reveals things unseen at first— the unseen emerging with sustained attention, just as her gaze yielded unexpected insight.

This exhibition presents their works as other windows: it encourages us to constrain our gaze, to gain education.