The final year students of Fine Art & Contemporary Applied Art warmly welcome you to attend the launch of their Degree Show, SEE·SAW, at 6pm, Friday 1st June 2018.
The Crawford College of Art & Design, Sharman Crawford Street Campus, will be transformed into a gallery space for this student-led exhibition for its two week duration and will host multi-disciplinary works of over fifty students.
Refreshments will be provided on the evening. We look forward to seeing you there.
Name: Aileen Farnan
Project: Facebook Different Strokes
Life has taken me down many paths. Adversity has put me on a path to where I want to go.
The subject of my work is the interpretation of memories. Using the beach and patterns left behind, created bythe sea as well as ourselves, I make moulds from impressions of the beach patterns over which I fire glass. The resulting fired glass combined with light, reflections and shadows presents exciting opportunities to use elements of nature in order to create representations that invoke emotions and memories in all of us, also creating emotional maps, which capture the fragility of life.
Name: Bernadette Tuite
Currently I am considering the creativity of nature found in Corkcoastal geology through clay. Considering the dynamic erosive forces of wind and water through making, I layer different colored clays, marbling together,to emulate the tortured seascape of my inspiration.
Although the coastline appears rugged, an impervious bulwark against the Atlantic and theelements, it is vulnerable to human impact. This precariousness is expressed in the balancing of the forms on small base.
I continue to experiment with themes of strata and layering through clay forms with the intention of both sharing this uniquely beautiful environment,and highlighting our obligation for responsible stewardship of it.
Name: Catherine Callanan
I am interested in interpersonal relationships; the possibilities and responsibilities inherent therein. My work is sculptural and influenced by my life experiences. I work in mixed media; predominantly ceramics, glass and metal.
My current body of work is figurative. The emphasis is on the complexand sometimes unpredictable, process. It is in response to how much easier it is to leave a positive mark on another person rather than the work entailed in erasing a negative one. Would it influence us if this internal impact was externally visible?
Name: Constance McKenna
At present the work takes its influence from the landscape of West Cork. The geology of the landscape is explored, the focus being the unique rock formations which constitute the area. The timeline of the Devonian period saw Old Red Sandstone formed in the strata. Now an aspect of the landscape, it is portrayed on maps in a distinctive manner. My practice involves applying ink onto canvas material and the addition of pencil marks on the ink. The method of stitching imitates the factual illustrations of geological rock formations seen on maps. A combination of drawing and textiles illustrates a response to the Irish landscape.
Name: Darragh Fennelly
The work itself deals with the struggle in understanding the composition of identity. Identity is an accumulation of how we perceive our past thoughts and future hopes. Each thought and experience create a memory and it is those thoughts which define our personalities. There are memories we wish to always remember, those we desire to forget and those we aim to make in the future. This theme of memory defining identity is explored using a series of stop motion embroideries and papermaking videos.
Name: Dónal O Brien
Currently I am focusing on abandoned houses in state of dereliction, decay, the absence of life and what is left behind. I go into these spaces to get the feeling of emptiness and deterioration. The function of the object that is the subject matter in these work’s is unknown. Abandonment and decay has transformed these surfaces over time O Brien explores what is left behind. Using a cameraless darkroom practice, he further transforms these surfaces by scanning, oiling the scanned print and allowing light shine through them onto photosensitive paper. Through the research of my concept the materials I use relate to the desolate imagery.
Name: Édaein Samuels
Living with Diabetes is complicated, a constant balancing act between monitoring food intake and blood glucose levels and injections. Insulinis the life-line on which I depend and needles are constant companions wherever I go. Testing blood sugars and injecting with every meal are ritual, threaded throughout daily life.
These routines, with data, charts and graphs generated by blood-glucose monitoringinform and inspire my work. Sewing needles are emblematic, linking my Diabetes and my affinity with textiles. My practice is apositive outlet for frustrations and anxieties surrounding my illness and is a playful interaction between myself,processes and material.
Name: Jordyn Lynch
I find the ever-changing process and impermanent beauty of erosion and decay fascinating. I photograph this through seeking out fragmented compositions in the natural landscape with vibrant colours and textures. The use of the fragment allows for the ephemeral beauty and overlooked qualities to be highlighted and recorded. I work intuitively by building material up and breaking it down. The material is frequently constructed and deconstructed to form a fragment. Often perceived as dying or decomposing erosion and decay is often disregarded and its qualities overlooked. The work can be seen as a commodity that challenges this perspective.
Name: Laurie Casey
In my work I explore the objectification of women through combinations of photography, mark making and textiles. I explore the erasure of identity through femininity, the conflict of wanting to be seen as beautiful by others yet also trying to remain true to yourself, and attempt to make the viewer question their own gaze and feelings of entitlement. I use materials and process as a means of symbolism, much as Judy Chicago and Miriam Schapiro have done. Schapiro used ‘low art’ such as stitch and combined it with fine art practices to bring it into the same realm of value.
Name: Lucy Hyland
I am driven by a desire to unravel the human conditions of illness and wellness through the making process. From material I find a sense of understanding and making a sense of ease. I use repetitive making techniques, such as hand stitching, and chose materials highly responsive to touch, such as clay, handmade paper and textiles, where the memory of the making and the imprints of the maker remain.
My current body of work focuses on the scar as a visual representation of the healing process. It explores the relationship between the medical and social support systems in recovery.
Name: Oisin Burke
Name: Aaron Philips
Name: Aleksandra Radosz
Hair is a fragile biological byproduct, a cultural construction which shows an evolution of meaning in human history. Long healthy hair is associated with beauty and youth, it’s usually shown as an object of desire. However, illness or ageing can cause loss of hair. Once disembodied, hair becomes disgusting or repulsive.
Name: Alida Ozolina
The attractive and playful paint in the paintingsis addressing the controversy of consent. The artwork is visualizingan environment,without context, where the model’s consent might be compromised. The paintings are informed by accounts people who have come in contact with unsought sexual advances.
Victim-blaming and glorifying rape has been recorded as far back as medieval manuscripts and renaissance paintings. The artwork is revisiting these depictions and ancient requirements, such as torn clothes, as well as newer practices, the clothes of the victim.
Name: Alison O Brien
Name: Alison O’Shea
The work concerns an imagined future which utilizes contemporary narratives regarding the housing crisis and new possibilities of occupying the landscape. These narratives are interrogated through a fictional character based on the Sean BheanBhocht (poor old woman), the personification of Ireland, to address the possibilities and consequences they may cause. The Sean BheanBhocht, representative of the land, which has acted as an archivist of our history and treatment of the space we occupy. The land then is no longer an object but an active listener and story-teller. This piece utilises sound, moving image and installation.
Name: Aneta Sawicka
Name: Name: Anna Gallwey
My practice utilises printmaking to explore themes of lineage, kinship and the production of narrative. Inspired by myths, archetypes and tropes, I source imagery related to the bloodline. Each storyline challenges the linearity of the bloodline in some way, coming together to construct a visual narrative of ancestry and relatedness.
The work draws upon traditional devices of storytelling such as the silhouette and motifs, along with employing a cast of ambiguous characters. This narrative is subverted through the use of patterning, repetition and mutations to hint that these narratives perhaps have their own ‘genetic code’.
Name: Anna O’Riordan
The principal concern of the work is the compression of time in our minds.The work has been influenced by the notion of bogland as a repository for cultural memory and histories. A tension exists in the duality of the bog as both expansive void and enclosed vault. We imagine the bog as the keeper of memoriesof everything that has happened to it, over vast expanses of time, outside the realm of imagination and linear chronologies. By examining this landscape we attempt to see through time. The work reflects the continuous dialogue that exists between past and present.
Name: Anne-May Tabb
The work concerns itself with the realm of the ‘everyday’ – an enigmatic experience which is felt collectively yet also uniquely, seen as mundane yet also marvellous, and as a result, proves to be completely diverse in its understanding. In this way, through the alteration and rejuvenation of the banal, the work manifests itself as playful installations in which the viewer is allowed to explore and understand my everyday. Consequently, the seemingly normal is defamiliarized for the viewer, creating a space of intrigue and absurdity in which one is encouraged to question this strange world of the everyday, and perhaps experience it anew.
Name: Artem Trofimenko
Name: Beibhinn Moore
My work is based on the shadow theory of Carl Jung and is a glimpse into my own shadow. The shadow self is everything we repress in our unconscious and it comes out unknowingly through projection. Our unconscious is subject to vagueness, and I communicate this in my work by mixing strongly contrasted stark words and imagery with amorphous and disturbing ambiguous ones. Through the making, I place trust into my instincts using this to convey what is hidden inside me. By accepting the shadow self one is accepting the darkness we all hold within us.
Name: CARA BROPHY
My work is concerned with the fragmented concept of home in contemporary society.With a particular interest in the layout and design of domestic space I draw inspiration from Modernist art and architecture. Flat surfaces, geometric shapes and straight lines come together in my paintings to create spatial ambiguities, as forms float and structures collide.
Name: Catherine Murray
The work is concerned with attitudes toward modern consumption, a combination of what will define us as a society in the future. It is an investigation of the concept from an archaeological/environmental perspective.
Name: Catherine O Rourke
Name: Chloe Keane
My work deals with memory loss, both in an individual context and in a broader societal sense. Through the appropriation of second hand textiles -chosen for their rich potential to inhabit memories and hold onto the presence of a life lived- I seek to exploit the simultaneously personal and collective properties of clothing. I aim to deconstruct the clothing’s stories, memories, and experiences, echoing the unravelling of not only a demented mind, but a demented society. Through symbolism within the work, I aim to challenge the distinction between personal and collective memory, exploring this dark societal dementia that exists in the current chaotic anthropocene, where lessons of the past have been so easily forgotten.
Name: Ciarán Farrell
Looking to emotion within the context of personal memory, I am interested in the sense of melancholy associated with thinking of a certain past. Memories are personal to each of us, a part of our mind and thoughts. How do we ‘look back’? I embrace hindsight, but not without caution. After all, when we think of our past, we do this action in our present. The work involves figurative images that are associated with my personal memories. Using ink pens as drawing tools, I apply this medium to various types of paper. Each drawing reflects the impermanence of memory.
Name: Clodagh Dermody
Dermody’s work deals with the exploration of the self in relation to ancestry and her family terrain. With a unique relationship to the sea, the artist explores her sense of disconnection between her cultivation and that of her predecessors. Dermody questions the idea of the self in relation to her heritage, echoing emotive recollections and her symbiotic relationship with the sea.
Name: Daniel Smith
Name: Dori O’Connell
Name: Eamon Carey
Skin demarcates the boundary to our physical selves. Membranes within skin divide and interlink interior and an exterior. The work focuses on comfort and discomfort within one’s own skin, delving into the everyday anxieties of the body, and disruptions of skin as a surface, such as clothing hemlines or cellulite.
Layering is important to the work; stronger colours and marks are glazed over in softer layers of oil paint, and more graphic marks are created through monoprint using personal clothing which makes contact with skin.Dysmorphia of the body, sensuality and tactility is emphasized by the use of unstretched canvas.
Name: Èanna Heavey
The work explores themes of identity, sexuality and rebirth: through the unravelling of social ideologies and personal narratives. Video and sound have been the main mediums through which these themes are explored and channelled. Movement and performance are new elements that are continually being investigated and integrated into the practice.
Name: Electra Grant
Name: Fiona Brosnan
Mobile phone’s ubiquity in contemporary society impacts our relationship with our physical environment, our experience of time and our haptic senses. The physical sense of touch is replaced by haptic visuality. This technology triggers constant interruptions which pull us away from the real world and into the virtual.
With play on perception, this work reinterprets James Turrell’s ‘Sky Garden’, as viewed through a different lens. Immersive in nature,the video installation creates a relationship between the body and the multimedia experience. The materiality refashions a sense of space and contact with the environment, whilst focusing on an experience of temporality, interiority and subjectivity.
Name: Geraldine MacCarthy.
My work concerns close links that exist between nature and science. A focus of the work is the study of plants for the purpose of treating human illness. Botanical study of this nature dates back to antiquity and is an essential component of contemporary medical practices. My work depicts plants, objects and associated medical paraphernalia through the process of printmaking. The transformative properties of printmaking, mirrors the alchemy that occurs when plants are used in the healing process. Scientific properties of these plants are often not widely known and the hidden nature of their vital role elevates the mystery surrounding them.
The prevailing theme of the work is humankind’s estrangement from nature, as viewed through the lens of our relationships with other species.This dysfunctional kinship is explored mainly through the mediums of painting, drawing, print, sculpture and installation. By using mostly salvaged or reused surfaces, and the utilization of found and repurposed objects, the importance of an environmentally conscious artistic practice is sustained. While implementing bright pigments and striking colour combinations to draw attention to these important matters in an engaging way, bold brushstrokes are balanced with intricate details in a language of symbolic imagery and metaphors.
Name: Kevin McDonald
In medieval art, jesters symbolized the universal foolishness of humanity. In the city one can experience the contemporary version of jesters in the form of predominantly male drunken college students. These parades of jesters shout, vomit, catcall, smash glass everywhere, and light bins on fire. All of this noise invades my art and even my dreams. My work explores the folly of humanity through jesters with phallic headgear whom I call ''dickheads''. They are heavily influenced by the marginal imagery of medieval manuscripts. Through them I explore the human need for self-forgetfulness and foolishness.
Thesis title: Erasmian Humanism in Bosch and Bruegel
Tutor: Simon Knowles
Name: Laragh Mooney
Transience and memories are central to my work. Some of our memories are vivid, while many are blurred. This work represents perspectives of both. It is the culmination of an exploration of recurrent memories. A series of repetitive photograms, ultimately illuminated particular transient memories to form a small collection of vivid, isolated memories. These vivid memories retain their connection through past and present, lulled or sometimes awakened by our everyday experiences and sensory triggers.
Name: Leila Doherty
My work is concerned with mental illness, particularly bipolar disorder. It seeks to depict a somewhat stagnant life, which gradually becomes defined by objects and surroundings, including those associated with institutionalization and illness. Primarily using detailed pencil drawings on a small scale, my work hopes to indicate a deep care for the subject, whilst also suggestinga life that is at a standstill in which one has excessive time to absorb all detail. By documenting the individual in their everyday settingI aim to illustratethe devastating effects this illness has on many aspects of the lives of all concerned.
Name: Lorna Mc Carthy
My work focuses on expressing the voices of women. In society today women's voices and opinions are still silenced and disregarded. The aim of the work is to convey society's oppressive nature towards female expression and the subsequent attempts to control women's bodies and how this can influence one’s body language. By using the female form I intend to document the struggles in communication for women in everyday life. By visually displaying raw communication in hand gestures and body language as the subject of my work, the viewer is forced to pay attention to what the sitter (female) has to say.
Name: Muireann Kelleher
Name: Patrick Bracken
This series ofwork explores aspects of western culture, with images of products that are commonly found in the everyday, with the use of abstraction in the composition, as a reference to the chaotic fast pace of modern life, and its distraction to what should be obvious and in plain sight.
Intended as a low-brow critiqueon contemporary society,the work employs aspects of popular culture, with a focus on issues of our time, including mass media culture, consumerism and the commodification of people. Highlighting how the lack of accountability in aconsumer driven society,has also reduced celebrities, popular personalities and now internet users, to product objects.
Focusing on the domestic setting the work aims to reflect a disruption of the familiar, through the manipulation of everyday domestic objects by altering their suggested function or purpose with the aim of reflecting the fragile emotions connected to a personal disruption.Rearranging and juxtaposing furniture, fabrics, string and objects together in a disruptive manner to construct an installation. Through the alteration of the furniture the work reflects a disturbance as does the incorporation of the string which is used to signify the chaotic and unstable nature one feels when familiarity is disrupted.
This work examines systems of societal control, specifically in terms of the underlying systems that create unconscious responses within the psyche. Albert Camus’, The Myth of Sisyphus, and Samuel Beckett’s, The Unnamable, build a conceptual framework from which to investigate the behaviours born out of socially conditioned systems of being, an interpretive frame that reflects upon the seemingly arbitrary or absurd nature of these behaviours. The creation of endless loops heightens the viewer’s awareness of their own individual plight within the constraints of a high-pressure, goal-oriented society, a society that constructs docile bodies as a means to assert collective obedience.
Name: Sarah Conway
Name: Sarah Diviney
Diviney’ s practice explores the objectified position of the female body within the subdued history of Ireland. Centered around the extensive domestic space, the artist exercises stagnant objects and the confinement of social constructs through performance and spatial activities. Her performances are constructed through the bodies response to the concept in conjunction with the environment and objects present, developing the work from an improvisational phase to a curated work.
Name: Sarah Long
The work is concerned with creating a world that is both fantastical and familiar. These worlds question the idea of the landscape as a natural phenomenon and investigate its role as a scene, a backdrop, a panorama, a view, a site, a setting, a background, a stage and a destination. The works are mixed-media, with the medium of drawing emphasising the man-made mark of creation. The viewer is invited to enter into a fabricated world and to experience this fictional Irish landscape.
Name: Shauna Barrett
Control over animals has vastly increased since the incorporation of agriculture into society. The introduction of farming resulted in tamed and domesticated animals whose lives are elaborately manipulated by man.
Through the use of oil paint the work attempts to reflect this aspect of manipulation by conveying control through technique and subject; of the animal under human dominance.
The man-made objects of control render the animals into a state of submission and the work and application of paint aim to reflect this authority and challenge the viewer to contemplate the level of human control over an animal’s appearance, breed, movement and even their very behavior.
Course: Fine art CR220
Thesis title: Blackness and Shadow in the work of Caravaggio
Tutor: Simon Knowle
Name: Sue Dolan
Where there is no home where home used to be, and no home when one is made to feel temporary, identity can sway upon a threshold space. This work discusses the absurdity of permissible displacement - and the state of being unable to claim tenancy over one’s rights - within transcultural matters, through the prism of the liminal.