To Ireland With Love

Whether working in busy urban studios or quiet countryside spaces, there’s no denying that makers and creators remain an integral part of Ireland’s culture and workforce. From painted canvas and chiseled stone to woven tapestries and hand-sewn clothing, the art of the handmade item is alive and well.

In fact, General Paints Group is telling the story of what it means to craft and create in Ireland in the only way it knows how: through color.

The company’s new Curator collection features 144 unique paint colors developed and sourced from artists who focus their creative endeavors in Ireland. The palette presents everything from neutral hues that speak to the quiet woodlands of West Cork to bolder shades that evoke the country’s strength and spunk.

“From the very beginning, we wanted to make a collection that was authentic, special and genuine,” says Rachel O’Connor, expert director for General Paints Group and one of the developers of the Curator brand. “[The artists] all had colors that really meant something to them and inspired their work. And for a lot of their work, their muse was Ireland and our lovely landscape.”

O’Connor, who is also heading up Curator’s U.S. presence, says that develop-ing and sourcing the palette was a nearly five-year journey. After extensive searching, the team worked with 29 Irish designers and artisans to discover the history and heritage behind the colors that inspired them. Although the concept of the palette changed along the way, O’Connor says the goal of capturing “the passion they bring into their work” remained a driving force

 

O’Connor, who is part of the third generation of General Paints Group’s 65-year history, also points to her company’s own entrepreneurial spirit as part of the collection’s inspiration.

“We’ve always had an admiration for artists and craftspeople. Many are solo entrepreneurs who are doing what they love. We worked with a broad range of artists — potters, millers, sculptors — and although they’re all different, they had one thing in common, and that was color,” she says.

 

Ronnie Graham.

O’Connor speaks fondly of the stories within the pigment and describes some of the bolder colors in the palette. There’s Ancient Black, inspired from the creations of sculptor Ronnie Graham. O’Connor describes the lore of this deep, moody color as “haunting and mystical.”

“[Ronnie] works with what’s called buried oak — it’s oak that’s been buried in a bog for thousands and thousands of years. During the preservation process it turns a beautiful charcoal color,” O’Connor says. “Ronnie believes it emits a mystical power — and he tries to capture that in his sculptures. Interestingly, it’s been one of the most popular colors in our market.”

The Curator collection was intentionally designed to easily discover and combine complementary shades. Here, Ancient Black is paired with Kerr’s Pink and Rose Mantel.

Carol Cronin.

O’Connor also suggests the colors can be used seasonally — such as on flower boxes and planters, furniture or even doors; she describes charming Irish neighborhoods with bright pink, turquoise and other colors adorning the front doors of homes. “But we don’t like to be too prescriptive. There’s no such thing as a wrong color combination,” she adds.

Even the palette’s more traditional hues have a story that is anything but. Horseshoe, for example, is a stone-gray shade, aptly named for Horseshoe Mountain in County Sligo, Ireland, that inspires pottery artist John Ryan.

O’Connor’s personal favorite paint is also bright and bold: Running Tides, a bril-liant aquamarine unique to the seascape paintings of Irish artist Carol Cronin, who has captured the Atlantic Ocean on canvas for decades. (“You might think you could get bored of painting waves, but [her works] are stunning,” O’Connor says.) These brighter, livelier shades off er the “pop of color” that O’Connor sees throughout the commercial interior design market. 

“People are starting to be less afraid of taking risks with pops of color. We’re seeing a lot of restaurants, hotels and public spaces take bolder risks. We think it’s a great trend,” she says.

 

The collection boasts shades like Pulled Rhubarb, Tailored Tweed and Dried Kelp (painted on chairs left to right) that ad richness and depth to ordinary spaces.

John Ryan.

“[Ryan] is immersed in the landscape surrounding his workshop, and it inspires these stunning creations,” O’Connor says of the potter’s handmade ceramics. “The color really shines through in his work.”

The collection made its U.S. debut ear-lier this spring in Connecticut and arrives on the West Coast in the fall, including southern California, Portland, Oregon; Scottsdale, Arizona; and Seattle.

 

 

Ultimately, the collection aims to not only honor these artists, but to inspire others to use color to express creativity and passion, says O’Connor. And in a way, that allows the consumer to play curator and tell their own story.

“The collection [is a] showcase of Irish craft and talent, but it goes beyond that,” O’Connor explains. “I think home is deeply personal to people. You want it to reflect your identity and personal style. When you bring a color into your home, you’re looking for more than just paint. In our collection, every color has a meaning and personality. [It’s] allowing the customers to be their own curator.”

The collection is currently sold at Ring’s End as well as McDermott Paint & Wallpaper in Connecticut, and is also available for purchase at curator.com.

All photos and featured photo courtesy of General Paints Group / Curator.

This post originally appeared in the Fall ’19 edition of The High End.

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Vik Muniz’s “Grey Marilyn (Pictures of Diamond Dust)”

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