From studio to gallery, here are three women redefining the art world

Petria Lenehan, Contemporary Artist

Contemporary artist Petria Lenehan originally trained and worked in fashion design, running her own label from New York City for a number of years before feeling the pull to paint, and she began teaching herself. “What started as an exploration quickly grew into a full commitment, and painting has become the way I express myself most naturally,” Petria explains.

“The transition from fashion to art felt organic; both are rooted in a love of form, colour, texture and storytelling, but painting gave me more freedom and intimacy in how I could explore those ideas.” She has since returned to Ireland, where she works out of her studio in Wicklow, promoting her work largely online, where she finds Instagram to be a huge part of how she connects with people. “I share my process, finished
pieces, and glimpses of my studio life,” Petria says, which she credits for bringing in interest and sales.

As for the creative process, Petria starts with a sense of mood or atmosphere, “usually sparked by something in nature, a memory, even a fleeting colour combination”. From there, she starts by layering paint intuitively, allowing the piece to “develop through texture, mark-making and washes of colour. The process is very intuitive, working in layers until the painting finds its balance and feels resolved.” It’s this process that draws the viewer in, and no doubt is the reason so many are drawn to each series she creates, as well as the regular commissions she receives from private clients and her ongoing work with interior designers.

All of this is something that is “such a rewarding way to see my work integrated into beautifully designed and interesting spaces,” Petria reflects. For Petria, it’s the intimacy of painting that she loves, “the quiet hours in the studio where something new emerges that I hadn’t planned.” Her love for what she does is evident in every piece she creates, and she also deeply values the connection others find in her work once it leaves the studio. “To know that something I’ve made can resonate with someone else, and become part of the rhythm of their daily life, is a real privilege,” she says. “And commissions, especially, allow me to create pieces that are not only personal to me but also meaningful for the client; it’s a very collaborative and rewarding process.”

Trish Lambe, CEO and Artistic Director, Photo Museum Ireland

With a formal training at the National College of Art & Design, Trish Lambe realised that design was not for her, but found her education in the NCAD library, “immersing myself in photobooks that shaped my interest in the medium.” It wasn’t until the 1990s that dedicated photography courses were available in Ireland, so Trish began a postgraduate course in Scotland. From there, she began her career at the Photo Museum Ireland in the nineties, then known as the Gallery of Photography, working on administrative and outreach projects before joining the curatorial team, and later, sharing directorship with senior curator Tanya Kiang. The gallery changed its name in 2022, and with that, Trish stepped into the role as CEO and artistic director, while still being a part of the curatorial team.

When planning exhibitions, the curatorial team works 18 to 24 months in advance and presents five to six exhibitions per year. They stay informed by attending shows and festivals, as well as through photo magazines, online programmes, events, social media, and direct portfolio reviews. The team then collaborates with artists to develop their work for shows.

“A key aspect of our model is that we develop, print and produce most of our Irish exhibitions in-house,” Trish explains. “This hands-on approach grants artists significant agency over the material realisation of their work. Our specialist installation team offer bespoke lighting design for each show.”

Supporting and promoting Irish photographers is at the core of the museum’s mission, and Trish recognises that while contemporary photography is flourishing in Ireland, the sector has its challenges. The museum offers solutions through workplace residencies, commissions, and exhibitions that respond to urgent social and political issues. “When an artist exhibits with us, the relationship is an 18-month engagement, providing not just a platform but also a workplace residency and access to our high- specification production facilities and training.”

It’s this collaborative process with artists that Trish loves. “There is a profound satisfaction in shaping an exhibition that resonates with audiences on a visual, emotional and conceptual level,” she shares. “I love developing partnerships with curators and organisations to create the conditions that make transformative artistic projects possible.”

Tara Murphy, Director, Solomon Fine Art Gallery, Dublin

Having studied art history and arts administration at UCD, Tara Murphy planned to apply for a museum job, but after a couple of weeks of work experience at the Solomon Gallery on Balfe Street, she realised that working with living artists was the path she wanted to take. “I got a huge buzz from selling paintings and sculpture to collectors,” she says, “and quickly understood how important sales are in the visual arts ecosystem. Sales help artists to thrive professionally, so ideally they won’t have to find a part-time job to supplement their income, and they can afford to stay and create work here in Ireland.”

Having worked her way up to become the director at the Solomon Gallery, Tara and her team represent approximately 40 artists, running 12 shows a year, and working almost two years ahead of themselves. “There are so many talented artists with no gallery representation in this country,” Tara reflects. “But sadly, running a commercial gallery is tough in Ireland, so there just aren’t enough spaces to meet demand. I wish I had a bigger space so I could take on more artists.”

When it comes to running a gallery, no day looks the same for Tara. Whether it’s curating exhibitions, hosting client events and exhibition openings, there’s no doubt that her role is busy. “You have to be a jack-of-all-trades with a very wide skillset when running a gallery,” she explains. “Some days I’m in overalls drilling holes into walls, and other days I am dressed to the nines hosting client events and openings. We do all of our own marketing and social media, so a large part of the day is spent publicising exhibitions and chatting to visitors.” There’s no doubt that years later, Tara’s biggest love when it comes to her work is the artists she meets along the way.

“My favourite days are studio visits,” she shares. “It is an absolute privilege to be allowed into an artist’s personal and unique workspace and gain more insight into their process.”Next in the calendar for Tara and her team is Dublin Gallery Weekend, running November 6-9. “We have expanded the programme to include all of the public arts institutions,” Tara says. “There are loads of amazing artist talks, walking tours, and demos to cater for all tastes and ages. We can’t wait to throw open our doors and hopefully entice curious gallery newbies to come in and experience something fresh and exciting.”

Photography by Doreen Kilfeather

This article originally appeared in the Winter 2025 issue of IMAGE. Have you thought about becoming an IMAGE subscriber? Our Print & Digital Magazine subscribers receive all four issues of IMAGE Magazine and two issues of IMAGE Interiors directly to their door, along with digital access to all digital magazines and our full digital archive, plus a gorgeous welcome gift worth €75 from Max Benjamin. Visit here to find out more about our IMAGE subscription packages.