Myth Of Return

£ 12.00 each

+

Thirty two pages of 33 illustrations of Brian's work in full colour and the following commentaries:

Finding the Faith?

Tom McMillan confronts some demons of his own. Whelan’s work leads him into an introspective spiral.

How far does a man have to go before he surrenders his unbelief?

The Viaduct

Closer to civilization and its discontents, Stephen Martin’s ‘The Viaduct’ stands as a monument to the generations of Irish labourers and navvies that built, and suffered by building, Britain’s roads, railways and canals.

Time Gentlemen Please

Whelan’s work brings us closer to drink as well as God. For Joe Horgan ‘Time Gentlemen Please’ reminds us of ultimate matters, for “drink, like death, is a certainty”.

Shaman Shane – The Wounded Healer

Stephen Martin revisits the controversial figure of musician Shane McGowan, branding him as a latter-day London-Irish spirit-raiser and exorcist.

Asrael and Night Train

Over a metaphorical glass of beer, Joe Horgan contemplates the bleaker aspects of Irish immigrant life in ‘Asrael and Night Train’. “Jesus, I’ve been here before!”

The Myth of Return

Tim Holt-Wilson interviews Brian Whelan and discovers a London-Irish drama of attachment and separation at work in his paintings.

“wise, witty and affectionate paintings which range from religious iconography to images of his home city of London.”
Ian Collins, writer

“Whelan’s art rescues the rich treasury of Catholic iconography from the fog of syncretist, solipsistic thinking.”
Martin Boland, Dean of Brentwood Cathedral

“Looking at a Whelan painting is like looking at a stained glass window, through the eyes of Bart Simpson.”
Writer and critic Steven Martin

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