Breda Lynch is a Irish artist living in Limerick. She received her BA Hons degree at the Crawford College of Art, Cork, MA in Fine Art from Chelsea College of Art, London and an MPhil from the University of Wolverhampton, England.
She has presented solo shows in Ireland and Northern Ireland. She has participated in group exhibitions in Ireland, Northern Ireland, Scotland, England, Italy, Turkey, Thailand, China, USA and Iceland. Most notably of these were the BEFF – Bangkok Experimental Film Festival 2008 and 2015 and the Irish Pavilion at World Expo, Shanghai 2010. She has been a recipient of the Artists Bursary Award from the Arts Council of Ireland 2005 and a number of Limerick City Council Artist Bursary Awards, was a prize-winner at Iontas in 2007 and was awarded the NUIG purchase prize for her work at Impressions Biennale, Galway International Arts Festival 2017.
She has curated art exhibitions, most notably ‘Darkness Visible’ with Ann Mulrooney at the Galway Arts Centre commissioned by the Galway Arts Festival in 2008, ‘A Poem of Friendship’ at Occupy Space, Limerick 2010, ‘Excavate’, commissioned by Cork Printmakers and Cork City Museum, 2010 and ‘Other Drawings’ at Ormston House 2012.
In 2014 she presented a solo show titled: ‘The Pit and Other Stories’, at Siamsa Tire Gallery, Tralee and participated in the SIM – International Artists Residency Programme in Reykjavik, Iceland, which was supported by the Arts Council of Ireland. More recently, March 2016, she presented a solo exhibition at Linenhall Arts Centre, Castlebar, Co.Mayo, titled ‘Fragments of a Lost Civilization’.
She is currently working towards her next solo show titled, ‘Witch and Lezzie‘ which will open at the Ashford Gallery, RHA Dublin in October 2017.
Breda is a full-time lecturer in Fine Art at Limerick School of Art and Design, LIT, Limerick.
Lynch references gothic worlds in her work, which question ‘what is considered traditional ‘normality’. This is in a sense a night or ‘noir’ world where extremes and uncertainties of sexuality, morality and power exist shadowing the prevalent social ethos. The gothic operates within what Freud terms the ‘uncanny’, which could be described as the fear of the new and unknown. But the gothic world is a dark one, where it is impossible to see certainties. The fact that there are no certainties is much more unsettling than any supernatural imagery that the gothic evokes.’ (Greg McCartney – Director, North West Visual Arts Archive, Ireland, 2007).
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