Three artists, Sheena Devitt, Rozzi Kennedy and Rosalind Lowry, investigate their moment of illumination through the processes of painting, sculpture and installation.
Rooted in the lands across the three Counties of Antrim, Armagh and Down, and finding strength in the gentleness of slowing down, they present their life stages, their inspiration, and their works of ensoulment.
Embracing the slow rhythms of Winter as a productive time. Their choice to withdraw from the exterior world to focus on an inner world of creating, preparing, investigating, incubating, illuminating and evaluating.
An exhibition celebrating women, their rites of passage

A Bridge Between Times is not merely an exhibition; it is a living archive, a whispered conversation between the past, present, and future of Fort Dunree. Begun in 2023, this body of work emerges from a deep, collaborative engagement with a site poised on the cusp of permanent transformation. As artists rooted in Inishowen, we felt an urgent need to document not just the physicality of the fort, but the intangible layers of memory, identity, and quiet resilience that resonate within its fabric, before they are reshaped by significant investment and a new public narrative.
Please check with Cultúrlann directly about daily opening times.

“Past tense: f r a g m e n t e d” tackles our personal loss of innocence as we transition through life and, inevitably, our inability to reclaim it. It also focuses on the loss of memory as one ages or, in some cases, develops dementia and often reverts to childlike tendencies – this time with a layer of decay as opposed to innocence. While these stages are universal experiences, they can be entirely isolating moments.

This exhibition gathers 53 artists from Palestine and its diaspora across time and borders to reimagine the missing works of Maroun Tomb, a Palestinian-Lebanese artist, whose 1947 exhibition in Haifa was lost amid the mass displacement and dispossession of the Palestinians during the Nakba. The works resurrect a moment that was nearly erased until it was discovered in archival documents.

Exhibition continues from 17/01/2026 to 30/01/2026.

‘Patterning Futures: Dynamic Textiles’ by Jackie Toal is an experimental exploration of Irish textile heritage through immersive technologies and projections. The work engages with Irish motifs, patterns and the Irish linen industry, while foregrounding women’s central role in the linen production. Silk scarves reimagine motifs from Irish lace and floral patterns, translating historical knowledge into contemporary form. Several scarves are Augmented Reality‑enabled: viewed through AR, they reveal layered narratives and animated patterns. Projection mapping brings dynamic motifs to life on tulle and Irish linen.

In November 2025 Golden Thread Gallery will be presenting a new exhibition by artist Sharon Murphy, curated by Sarah McAvera.
Drawing from her background in theatre and shaped by influences from psychoanalysis and magic realism, Murphy’s work delves into theatrical settings, captured in moments of quiet and stillness. Through recurring symbols such as curtains, deserted stages, and performative environments, she investigates the thin line between illusion and reality, presence and absence.

The Border That Crossed Me is a multi-sensory collaborative exhibition exploring surveillance technology, border infrastructures, and climate-induced migration. This exhibition has been devised for the Golden Thread Gallery in collaboration with FLAX Artist Studios, Belfast and Azzedine Saleck. Presented in our Upper Gallery, The Border That Crossed Me examines the political and emotional geographies of divided territories across the globe.

A Myth of the Last Wolf is an exhibition by internationally renowned artist Karen Daye-Hutchinson. Each print in the show is a gateway into an imagined mythology. Animals appear as messengers or witnesses, their forms dissolving into human gestures and vice versa.

The landscapes they inhabit are fractured and dreamlike, haunted by traces of conflict, tenderness, and the slow erosion of time.

Karen Daye-Hutchinson studied Fine Art at the Art College, Belfast, and Manchester School of Art.

In 2021 she was elected a member of the Royal Society of Painter-Printmakers (ARE) and a member of the Royal Ulster Academy of Arts (ARUA).

In November 2025 Golden Thread Gallery will be presenting a new exhibition by artist Sharon Murphy, curated by Sarah McAvera.
Drawing from her background in theatre and shaped by influences from psychoanalysis and magic realism, Murphy’s work delves into theatrical settings, captured in moments of quiet and stillness. Through recurring symbols such as curtains, deserted stages, and performative environments, she investigates the thin line between illusion and reality, presence and absence.

The Border That Crossed Me is a multi-sensory collaborative exhibition exploring surveillance technology, border infrastructures, and climate-induced migration. This exhibition has been devised for the Golden Thread Gallery in collaboration with FLAX Artist Studios, Belfast and Azzedine Saleck. Presented in our Upper Gallery, The Border That Crossed Me examines the political and emotional geographies of divided territories across the globe.

Exhibition continues from the 4th of December 2025 to the 29th of March 2026.

Each piece in the exhibition involves the artist intervening in some way on a found image. Although collage has long been part of Jeffers’ approach, both the disaster paintings and the intervention works differ from traditional collage: rather than cutting up found material for its colour or specific imagery, Jeffers uses the entirety of the original scene, adding a new element that completely alters the depicted narrative.

A Myth of the Last Wolf is an exhibition by internationally renowned artist Karen Daye-Hutchinson. Each print in the show is a gateway into an imagined mythology. Animals appear as messengers or witnesses, their forms dissolving into human gestures and vice versa.

The landscapes they inhabit are fractured and dreamlike, haunted by traces of conflict, tenderness, and the slow erosion of time.

Karen Daye-Hutchinson studied Fine Art at the Art College, Belfast, and Manchester School of Art.

In 2021 she was elected a member of the Royal Society of Painter-Printmakers (ARE) and a member of the Royal Ulster Academy of Arts (ARUA).

Edel Murphy, CEO and Artistic Director says that ‘twixt takes its name from the notion of being in between, at an interval and interweaving. Recipients of our d/Deaf and Disabled Support Fund grant programme have used the funding to deliver new pathways towards their own goals, some artists pursuing experimental directions or new ambitions – each at their own stage of development and discovery between concept and realisation.

Now in its ninth year, our annual Emergence exhibition provides a valuable and professional platform for recent graduates at a transitional stage in their career. Collectively, the selected works demonstrate the diverse range of talent and media explored at Belfast School of Art. Graduate artists are selected by QSS studio representatives.

Opens Thursday 15 January, 6–8:30pm
Runs until 19 February, 2026

‘sing me to where silence weeps’ is a solo display of work by Patrick Hickey exploring portrayals of men within Irish visual culture.

The life and work of Barbara Steveni (1928–2020), who described herself as an artist–activist, embodied an archive and pioneered a diffused art practice that resists clear definition.  The importance of Steveni’s role in the Artist Placement Group (APG) was often marginalised by gender-inflected terms such as ‘honorary secretary’, her practice is rarely recognised as having a value in its own right. This exhibition intends to redress this imbalance and encompass her life’s work, drawing together her practice and her experimentation with materials, media and strategies across a career spanning more than seventy years.

IT’S NOT CLEAR FROM HERE draws on archival material and lens-based media to explore how images are shaped by time, technology and the act of looking. The exhibition considers the gallery as a space where narratives shift and meaning is continually re-formed. Archives are unearthed and disrupted, environments seep into the gallery space, and obsolete technologies are reanimated. Across photography and film, the works reflect on technological change, environmental crisis and questions of belonging, presenting images as unstable, partial and often elusive.

Exhibition continues from 17/01/2026 to 30/01/2026.

‘Patterning Futures: Dynamic Textiles’ by Jackie Toal is an experimental exploration of Irish textile heritage through immersive technologies and projections. The work engages with Irish motifs, patterns and the Irish linen industry, while foregrounding women’s central role in the linen production. Silk scarves reimagine motifs from Irish lace and floral patterns, translating historical knowledge into contemporary form. Several scarves are Augmented Reality‑enabled: viewed through AR, they reveal layered narratives and animated patterns. Projection mapping brings dynamic motifs to life on tulle and Irish linen.