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 and 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.
Lynch has been a recipient of the Artists Bursary Award from the Arts Council of Ireland 2005, a prize-winner at Iontas in 2007, and a number of Limerick City Council Artist Bursary Awards, Arts Council Travel and Training 2014, was awarded the NUIG purchase prize for her work at Impressions Biennale, Galway International Arts Festival 2017 and is taking up her residency award from Cow House Studios, Wexford in 2018.
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, Limerick 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 2014.
More recently, Lynch presented solo exhibitions at Linenhall Arts Centre, Castlebar, Co.Mayo, titled ‘Fragments of a Lost Civilization’ 2016 and the popularly received ‘Witch and Lezzie’ at the Ashford Gallery, RHA Dublin, 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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