A Hamptons Debut
Gerard Byrne at The Slattery Gallery
The Hamptons art scene has always had its own rhythm—equal parts sophistication, intimacy, and that unmistakable East End flair. This past weekend, it pulsed with new energy as The Slattery Gallery opened its doors for Gerard Byrne’s first solo exhibition in the Hamptons. Hosted by none other than society photographer Patrick McMullan, the event blended art, culture, and community into a glittering afternoon that felt like a page straight out of New York society’s playbook.
Walking into the gallery on Jobs Lane, you could sense the anticipation. Collectors, curators, and friends of the art world gathered, glasses in hand, eager to see how Byrne’s luminous canvases would speak to the Southampton light. And they did. The exhibition, running through October 13th, delivers what McMullan himself described as “a luminous exploration of light, form, and memory”—a fitting introduction for an artist whose career has spanned more than three decades.
A NATURAL FIT FOR THE HAMPTONS
Byrne is celebrated as Ireland’s foremost Modern Impressionist, and his paintings carry the unmistakable DNA of the Impressionist masters: vibrant palettes, expressive brushwork, and an almost spiritual command of light. Yet, there’s also something distinctly contemporary in his work—an awareness that Impressionism, when filtered through a modern lens, can feel timeless and fresh.
For Hamptons audiences, it’s a natural fit. His landscapes and figurative works, alive with texture and tone, mirrored the very setting in which they were being unveiled: Southampton, a place where nature, art, and social culture blend seamlessly. Watching sunlight pour through the gallery windows and reflect off Byrne’s canvases was an experience in itself—a reminder that art and environment are always in conversation.
A GALLERY WITH VISION The Slattery Gallery may be new, but it’s already asserting itself as a destination for forward-thinking exhibitions. Founded by John Slattery, a native of Ireland and now a Southampton resident, the gallery’s mission is to present both Irish and American contemporary works while complementing them with significant Post-War and Modern masterworks.
That duality—local roots with global vision—makes the space a perfect backdrop for Byrne’s debut. Gallery Director Damien Roman, who brings more than 30 years of expertise to the table, has curated a thoughtful mix of secondary-market treasures alongside contemporary talent, ensuring that each exhibition resonates not just as an event but as part of an ongoing conversation about art today.
At Byrne’s opening, the intimacy of the gallery gave the afternoon a rare quality: a room full of social fixtures and art-world insiders, but one where you could actually hear each other speak, and more importantly, hear the art itself.
A CELEBRATION OF ART AND SOCIETY
Patrick McMullan’s presence as host lent the afternoon a sparkle only he could provide. A legend in New York society circles, McMullan has spent his career documenting the people and moments that define our cultural life. For him, championing Byrne’s work wasn’t just about photography or social cachet—it was about passion. As he put it, hosting Byrne’s debut felt like a natural extension of his love for art and the Hamptons community.
The guest list reflected that blend of society and substance: Jean Shafiroff, Leesa Rowland, Lucia Hwong Gordon, Damien Roman, Ron Burkhardt, and John Slattery himself, among others. Each lent their presence to an afternoon that was as much about celebrating cultural exchange as it was about the paintings on the walls.
AN ARTIST’S JOURNEY
What makes Byrne’s arrival in the Hamptons particularly exciting is the depth of his career. His work is held in collections across Ireland and abroad, including embassies and institutions like the Citadelle Art Museum in Texas. Alongside his wife Agata, Byrne also operates the Gerard Byrne Studio in Dublin’s Ranelagh Village, a creative hub that doubles as a living and exhibition space. That sense of home and community, woven into his Dublin practice, translated beautifully into Southampton. There was a sense that Byrne wasn’t just bringing his art here—he was sharing his world.
A NEW CHAPTER ON THE EAST END
As I left the gallery, sunlight still playing across Byrne’s paintings in my mind, I couldn’t help but feel this was more than just another Hamptons art opening. It was a cultural moment.
The Slattery Gallery may be new, but if this debut is any indication, it will be a cornerstone. And for Gerard Byrne, the Hamptons feels less like a stop on his journey and more like a place where his luminous explorations of light, form, and memory have finally found their natural stage.