"Transmissions" Elizabeth Fox, Frances Hennigan, Sinead Keogh
Redcouch Gallery and Offsite (Locations TBD)
9 October – 21 November 2026
Artists: Elizabeth Fox (www.beth-fox.com), Frances Hennigan (www.franceshennigan.com), Sinéad Keogh (www.sineadkeogh.net)
Across CHG&S’s 2026 programme, we return to what is carried forward, what is obscured, and what quietly reshapes us over time. Transmissions brings that enquiry into the realm of signal and mediation: the images, scripts, and messages that travel through screens, institutions, and public life, and how these transmissions settle into the private self. In a world shaped by constant information flow, digital distortion, and shifting realities, Transmissions interrogates the influence of technology, surveillance, and virtual identities in contemporary culture. Through a fusion of painting, digital media, and immersive installation, Fox, Hennigan, and Keogh explore the psychological and political dimensions of the digital age.
Fox’s practice works across installation, drawing and moving image, building layered modes of storytelling that capture the strange textures of contemporary life online and offline. Her work can be grounded in personal essay and lived experience, exploring labour, anxiety and absurdity, while staying alert to the systems that organise behaviour at a distance.
Her work reflects on the enduring power of comforting lies. Her moving image installation presents, Grateful Patients, an experimental art film that will be presented as a 2-channel installation. One channel tracks the current rise of anti-medicine disinformation in online wellness spaces, the other follows a 19th-century medical charlatan whose patients remained loyal despite his exposure as a fraud.
Frances Hennigan’s work sits at the intersection of celebrity culture and political narrative, using the visual language of social media and internet fame to interrogate how influence is produced and how “truth” is staged in a post-truth era.
Working across video, large-scale projection, painting and drawing, she draws from headline scandals, algorithmic trends, and manipulated imagery, where spectacle, scandal and misinformation circulate as culture.
Her practice stays close to the mechanics of attention, and to the way political messaging and “activism” can be performed through the rhythms of fandom, branding, and virality. Within Transmissions, Hennigan’s work brings the exhibition into direct contact with the public theatre of power, asking what
Sinead Keogh is a multidisciplinary artist, performer, curator and writer whose practice spans video, character performance, dance, installation, painting and live work, with an interest in synesthetic installation and the intensification of the senses. Her project Doppelgänger centres on the figure of the office worker and the subtle performance of compliance within institutional life, drawing on the codes, gestures and repetitions that shape identity in the workplace. Working with looping structures, interruption and shift, Keogh explores “true self” and “shadow self”, and the uneasy space between them, where what is permitted, what is concealed, and what leaks out in the margins come into view.
In Transmissions, her work reframes the institution itself as a transmitter, a place where roles are rehearsed, bodies are regulated, and the private self is continually edited into a public-facing form.
This exhibition will feature a mix of large-scale paintings, interactive projections, and installation-based works, transforming the gallery into a space where physical and digital realities blur. By disrupting narratives of authenticity, desire, and surveillance, Transmissions challenges viewers to confront the mechanisms shaping contemporary perception.
Artist biographies
Elizabeth “Beth” Fox
Elizabeth “Beth” Fox is a multimedia artist working across installation, drawing and moving image. She holds an MA in Fine Art from Central Saint Martins, University of the Arts London (2011), a BA in Sculpture from Limerick School of Art and Design (2010), and completed an Erasmus exchange at Académie Royale des Beaux-Arts, Brussels (2008).
Fox has exhibited in solo and group contexts in Ireland, the UK, South Korea, the US, and India. Her recent presentations include solo projects such as SOUVENIR (East Quay Watchet, Somerset, 2023) and Independent Contractor (Platform Arts, Belfast, 2023), alongside wider exhibition activity across film, installation and contemporary visual arts contexts.
Frances Hennigan
Frances Hennigan is an Irish artist who lives and works between Essen and Duisburg, Germany. She works across video and painting to interrogate the dynamics of internet fame and its intersections with misinformation, scandal, self-obsession, and performative political activism, examining how attention is accumulated, manipulated, and distributed in rapid cycles of online image production.
Through harvested imagery and text, Hennigan interweaves fragments of memes, viral infographics, and celebrity quotes to reflect on social media’s relationship to politics, highlighting the mechanics of “attention-hacking” and the strategic re-use of canonical and political imagery for maximum impact.
She completed an MA in Art and Research Collaboration at IADT (2022) and is a co-founder of CRUX, a collective of working-class and queer artists engaged in experimental, nomadic exhibition-making. Hennigan was awarded a fellowship in Urban Digital Culture with Kulturforum Witten (2023), is the recipient of an Arts Council of Ireland Agility Award, and has undertaken residencies including Kulturforum Witten (2023–24), Leitrim Sculpture Centre (2024), and Killenure Lodge (2022).
Sinéad Keogh
Sinéad Keogh is a multimedia performance installation artist and curator. Her practice centres on synesthetic installation, balancing intensifications of the senses to create immersive, often emotional experiences communicated through dance, character performance, and synchronised video and sound. The work moves between simultaneous storytelling and experimental abstraction, often with surreal fantasy, and undertakes conceptions of Gothic resplendence, fantasy narratives, desire, and gender presentation and manipulation as a form of gender alchemy.
Catalysts for Keogh’s practice include the Irish landscape, Greek mythology, folklore, and queer feminist histories. She has exhibited in Dublin institutions including The Broadcast Gallery, IMMA, and The LAB, and internationally in contexts including New York, Italy, and New Zealand, and has made work for festivals including BIFPA and the Bram Stoker Festival.
Keogh holds an MFA in Fine Art from NCAD. She is also the founder, Director and Curator of Soul Noir: Festival of the Dark Arts (2017–present), a Dublin-based festival for Gothic and alternative arts. Her curatorial practice aims to centre countercultural, underground and alternative voices, alongside expanded programming and community engagement, and she is a vocal ally for audiences and creatives who are blind and visually impaired.