“Subject to Change” refers, in a slightly whimsical way, to the nature of the production and presentation of our show. The work has been produced and undeniably influenced by a period of global crisis and change, when nothing feels fixed or certain. It’s also been an exciting time for the production of artwork as new challenges and circumstances have, for many of us, caused the work to take unforetold directions. This has, for some of us, manifested as a change in subject, for some a change in medium or practice.
During a time of flux we are excited to present work which feels new and ground-breaking, and to emerge into a world in which unpredicted challenges and surprising opportunities have become par for the course.
By looking to my past and my rural upbringing, I explore the complex ties that bind us to past generations, traditions and the physical landscape. My interaction with materials and objects of the rural landscape become creative catalysts stirring memories as they move through my hands. Universal themes of identity, belonging, and place can be found within my work - my sites of memory.
Personal Website: https://aineryanart.wordpress.com/
My work focuses on investigating the relationship between order in complex geometric patterns and a sense of visual comfort.
My research is based on the concept of fractal geometry. This mathematical theory proves that every organic structure is made out of simple units called fractals, which are then multiplied, in various sizes, to create the larger body. This concept calls into question Chaos theory - it brings order to elements of nature that we previously considered irregular or variable, in effect, chaotic.
I am also looking at the movement, rhythm and harmony within structure and pattern.
This current body of work includes glass, metal and card.
My research is concerned with the human condition. My current work explores the loss of memory, as Alzheimer’s disease slowly engulfs the mind and body, through the media of glass, textiles and film.
A series of five pieces in some work represents the internal and external alterations experienced during the different stages of the disease. The anxiety and emotional turmoil felt, as memory loss progresses, can be seen through the unravelling in pieces of text.
The varying pieces depict the interruption and decline of the mind and body, confusion, fear, and loss, experienced with Alzheimer’s disease.
The short film “Regression” (below) is used to demonstrate the viewpoint of the person with the disease.
In my work I try to express the connection between significant events in life and the everyday. This can be any event, from a change in situation, to an event like a death or a loss, or even a joyous occasion like a wedding or a birth.
My work is mostly done in weave, either on a loom or a frame. This is to signify how our lives intertwine with the events that shape and influence those lives. Our life is a weave, made up mostly of mundane, day by day events. However, occasionally an event takes place that upsets the simple repetitive structure of that weave, an aberration in the structure. This shows up as a sometimes slight, sometimes large change in the weave. The more influential the event is, usually, the more the weave is corrupted. Some events can be so influential that they cause aberrations to appear more than once, creating their own pattern within the plain weave of life.
My work examines our relationships with everyday objects within the domestic space. I am examining the idea of the female identity being subsumed by domestic life and how this can reduce, constrain, and devalue female status and place.
Using found objects and combining them with feminine signifiers, such as hair, I make new hybrid objects that carry within them the relationship of the object and the self.
Repetition and facilitation are repeated throughout the work reflecting the experience of endless domestic labour and accommodations.
Materials used are everyday domestic found objects, coupled with human hair, animal and plant fibres, plaster, concrete, and video and photography.
I seek out buildings that are abandoned, neglected, overlooked or are facing demolition in the Irish countryside. I talk to people about these places to discover who lived, worked in them, taking many photographs of the building and the surrounding area. I am interested in capturing the ethereal and lost memories of these places, creating a link between the past and the present.
The altered images are transferred onto a variety of papers and fabrics and stacked in layers, each different from the one beneath representing distinct chapters in the history of the building.
My work is an exploration of roots and mycelium, the relationship between the two and how it can be presented visually by using various materials. The work takes a closer look at these structures, revealing this interconnected landscape that is otherwise left unseen. I aim to focus on the role of mycelium, a thread-like underground root network of fungi which is vital to the survival of our natural environment. Copper wire is used to create sculptures mimicking root and mycelial network growth. I also forage various natural materials whilst walking in the forest to make inks with for prints. Copper is another material used for ink making. I hope to develop an understanding of our connection with nature, and this fungi kingdom through sculpture, imaginative drawings, and visual stories. By working with nature, we can create and develop new outlooks on life, improving our emotional and mental perspectives.
Textiles is a big part of our lives regardless of who we are or where we were born, from the feel of a soft blanket wrapped around us to the physical touch of textiles on the skin.
I wanted to look at what we do as individuals to feel protected while at the same time feeling very vulnerable, using techniques such as textile painting, screen printing. machine embroidery, reverse applique, and hand stitching to explore this emotional attachment. I tend to work instinctively, listening to the cloth and thread, each element drawing on the other, informing my work.
Layering personal stories of memory, maternity, loss, joy, and identity, with symbols, objects, and rituals into a tapestry/quilt-like fashion, I aim to evoke a sense of comfort and protection.
I am inspired by textile artists Alice Kettle, Stephanie Metz, and Grayson Perry.
I explore the idea of layered optical illusion.
By using imagery of urban landscape that I feel an attachment towards. I give a sense of intimacy in my work by manipulating fragile materials, translucency and shadow . By stripping the image into separate layers and then framing and overlaying them, I explore shape, scale and fragility.
For each of my pieces I select a unique technique that works the best with a specific place. Making each design with various materials such as wood, metal, parchment paper and pigments. A primary material that I use is created by combining a PVA with mesh netting.
I combine soft materials and calming colour palette to represent the emotional association I feel towards those places.
Every step of making these pieces is a meditative process that helps me to reconnect with these everyday sites.
Paper is the medium that I choose to work with currently, using mathematical, geometric, and natural patterns, transformed through paper by means of measuring, cutting, scoring, folding, and pleating, I am also testing a range of fabric, lighting, and shadows. I feel that paper has a life of its own, each fold made leads onto the next, seemingly directing itself, I must be careful not to push too far it will snap.
It is important in my work to try and recreate some form of movement, sometimes introducing a light source. My research leads me to look at all techniques of measuring, cutting, folding, and pleating investigating what can be achieved.
My work is based on the Wabi Sabi philosophy, the ‘perfect imperfection’.
I look at and examine objects that are viewed as “ugly”, “unattractive” or “disturbing” encouraging the viewer to see a deeper meaning in the objects and focus on the way things are, rather than how they should be, seeing the beauty within.
On a deeper level my work deals with human imperfections, how certain experiences from our past can cause scars and damage to us physically and mentally, realizing the beauty from something that’s “broken” and “imperfect”.
Currently my work deals with beauty and decay, the acceptance of the natural cycle of growth, decay and death and bringing out the hidden beauty.
I use mixed media in my work but mainly I work with textile materials such as, fabrics, fibres, handmade paper and different types of dyes (both natural and artificial).
My work is about forms, pattern, texture and lines found in nature or made by nature.
The surrounding that inspires me the most is the seaside, with ever changing texture and forms. I am fascinated with lichen on the walls by the sea, forming patterns, and when you look closer you will find little cup shapes within the formations. The variety of other creations of nature found on the beach is mesmerising. I am drawn to multiples, pattern, shape, texture and mark making.
I enjoy creating delicate pieces in different mediums: textiles, paper clay, Mulberry paper, wire and glass, but lately my work has been with textile manipulation, free machine embroidery and fabric dyes.
My work discusses the representation of magic, ritual, and superstition through physical objects. I examine practices associated with protection and supernatural beliefs and create my own series of evocative objects and spaces. I look at the notion of magical thinking versus rational worldview, and how physical objects and talismans can represent our vulnerability as people. I take inspiration from bizarre, macabre, and mysterious pieces found in historical collections. I also address herbalism and the ritualistic protective meanings behind plants.
The work is made up of sculpture and installation pieces, including cast elements to replicate found objects and plants. I create casts using a variety of materials including resin and jesmonite, embedding objects and materials within them. I make herbal infusions and incorporate scent into my installations to make the work more experiential.
Artists that inspire my practice include Richard Proffitt, Dorothy Cross, Katharine Dowson, and Annie Cattrell.
In a contemporary world, where distrust of images is rife, I explore the manufactured reality of seduction and beautification. Through performance, photography and installation, I examine how patriarchal society has affected our ways of seeing.
It is said that analysing pleasure and beauty destroys the essence of them. However, in a world where beauty standards have been shaped and moulded, the work showcases our struggle and anxiety to reach our forever fantasised better selves.
Through exploring times of solitude, the work blurs the line between private and public moments, making private moments public, to question acts of looking. The work puts a cynical lens on the idea of selling being “womanly” to women, exploring links between consumerism, satisfaction, desire and disappointment. Although, we partake in this intense consistent consumption of images, there is a certain disingenuousness and irony that exists within our awareness that we should not be relentlessly looking.
Personal Website: https://avahayesartwork.wixsite.com/artist
My current work is rooted in personal experiences of home, identity, ‘Irishness’ and seeks to explore the position and experience of the female in traditional and contemporary Irish culture. Through Installation I attempt to dismantle the nostalgia propagated by romanticised notions of traditional Irish identity and deconstruct the inherent patriarchal discourses associated with rural Ireland. I displace domestic labours within the rural landscape, challenging traditional tropes of the landscape as a female space and seeking to reclaim this feminine space and emphasise the ‘invisible’ labour of women in rural homeplaces.
Using performance, sound, printmaking, and sculpture I attempt to create an immersive space that induces the subjective experience of qualia in the viewer. The materiality of the work attempts to evoke a merging of the domestic and the rural spaces as I reclaim and reconstitute these spaces as a site of convergence.
Interested in storytelling and symbolism, my practice concerns memory and the cycle of time within nature and my place of home. Building from childhood impressions, the work looks to create allegories that contemplate nature’s enduring role as a backdrop for growth, seeking to re-connect with what the author, Henry Thoreau (1817-1862), described as youth’s intuitive curiosity and comfort in the natural world; “…in the infancy of the human race, some enterprising mortal crept into a hollow in a rock for shelter. Every child begins the world again, to some extent, and loves to stay outdoors….having an instinct for it….the natural yearning…of our most primitive ancestors…survived in us”. Fascinated by the role of perception and recollection, I engage in detailed representation, removing subjects from their place of origin so they appear to drift somewhere between presence and absence. The resulting series of watercolour and graphite drawings occupy a borderless, unspecified realm that dwells upon nature, origin and remembered place.
The OPW (Office of Public Works) has purchased Exhibiton work from Catherine that will be now become part of their Collection.
My practise incorporates a range of media that incudes painting, print, and drawing. These processes are developed together to explore humanities relationship with its creations. In conjunction with my drawings, I use imagery of my surroundings to create links between historical references and technology. This is to highlight significant issues associated with such creations. My Practice also focuses on the progression of understanding trends between generations from our oldest civilizations to present day. This progression of knowledge uncovers the true evolution of human nature. Human history and Philosophy under pin my practise as they reveal the consistencies of human nature and the inconsistencies of human senses. I draw inspiration from Surrealist artists of the past such as Yves Tanguy and Max Ernst for their focus on philosophy and the metaphysical as well as contemporary artists such as Louise Bourgeois and Dorothy Cross for their use of visual metaphors and analogies.
My aim is to explore the ever increasing presence of technology in our current society. Through the use of metal and video I express how our environment is now saturated by media consumption.
My medium is cold, inorganic material based on human-like figures and screen malfunctions. I wanted to express the humanity in my work as something almost skeletal, fragmented and unnatural.
My work is interested in subverting traditional notions of identity, with a focus on female identity within relationships, often situated within a domestic setting. I utilize found footage from contemporary films, combining them with my own footage and sound to create a new narrative.
Drawing on filmmakers Joey Solloway and Chris Kraus, I explore my own version of the female gaze through a darkened landscape of poetic narrative. I present my own writings in subtitles, utilizing object symbolism and metaphor, specifically the overwhelming power of nature. Through the use of secondary footage, my work also addresses the postmodern question of authorship/originality, and the traditional distinction between mainstream and arthouse film.
Although the portrayal of my primary theme may vary slightly in each video, the methodology of my work remains consistent. I record my own footage and sound, as well as engaging in an extensive computer-based research and editing process.
My work explores sentimental, ornamental and collectable items in an archival space. My research investigates treasured objects identified within a home cabinet. The accumulation, the storing and the value of the objects we collect and retain are fundamental conceptual framework in which this body of work has developed. Using the materiality of printmaking, book arts and installed sculptural forms, I created a personal archive which defined the relationship of objecthood and the sentimental value of personal collectables.
The OPW (Office of Public Works) has purchased Exhibiton work from Elana that will be now become part of their Collection.
In my work I am focused on the subject of the figure within the natural landscape. I am interested in the concept of Arcadia from Greek mythology, and the idea of a utopian and unspoiled environment. I am drawn to old photographs and places where nature and the man-made are connected. These places remind me of my garden from years ago and this memory influences my work today, as it gives me hope for the future in these unprecedented times. Working in the mediums of charcoal, graphite, eraser and stencil I primarily draw women situated within nature. I find charcoal to be a forgiving material and like clay it can be added to or taken away with ease. Through this process of layering and erasing forms on the paper become more tangible to me. My work is influenced by artists such as Kathe Kollwitz who uses charcoal to depict the anxiety she experienced in her life-time.
My approach to making photographic images is an exploration of personal desires through image manipulation. I create my work based on ideas of parallel universes with references from 80/90s sci-fi and fantasy movies. I create worlds from other worlds. My photos function as recollections or distant memories. They contain obscured faces, figures, and mysterious occurrences taking place. The images give minimal but enough visual information to allow an investigation, creating a certain mood or a strange narrative. A supernatural or apocalyptic atmosphere is created within these images and their installation. I like to include people similar to my age within the photographs, since we have grown up with the Internet and Social Media. They are captured in environments influenced by our image culture but where the internet may now not exist at all. My images works are made from fragments of the contemporary world altered into new places and times.
My practice is concerned with research on the value of traditional ideals within the studio. I incorporate sustentation of nature, notions of new technology, art within science, and their increasing importance within artistic research. This is reflected through the use of contrasting materials and technologies.
An important aspect of the process is a focus on sanctuary for declining ecosystems and a possible utopian future.
This current work is based within a sculptural and printed language. The installed work is constructed using industrial metalwork and traditional basket weaving techniques, these forms are inspired by bird nests and ancient crannóg structures. The prints are made using digital painting with screen print elements; the motifs of which are inspired by conservation data of endangered Irish birds.
The environment I grew up in my native Germany has changed drastically in recent years, and sadly, the change is accelerating. In my childhood, we had snow for three months every year, now we have none. Development is encroaching on the forests, and as the cities grow, we generate more and more waste.
My work talks about our indifference to climate change and human pollution. I work with drawing, collage and photography. All my materials are repurposed, non toxic and plastic free. Some photographs are snapshots taken with a low quality camera, reflecting the fleeting nature of our engagement with what we consume, and the waste it generates. Others are from my family archive.
Some of my influences are: Kathleen Thum, an American artist who makes drawings of coal and other fossil fuels; Tjibbe Hooghiemstra, a Dutch environmental artist who often draws on water-saturated surfaces; and Olafur Eliassons, who takes ice broken off from glaciers in his native Iceland, and leaves it to melt in public spaces in cities such as London and Berlin.
Personal Website: http://fe-arts.com/
The work is an exploration of one figure's role in portraying the psychological aspects to an everyday family dynamic when it has fallen apart. The practices involved are photography, performance and sculpture. These are incorporated into photo-sculptures of isolated moments in a staged performance.
Within this body of work are 3 separate houses, a house per parent and a limbo space where the figure resides in a fantasy from his past. The figure contemplates which parent to join and which to drift away from. Only 1 house can be called a home. The pull from either side comes when you are stuck in the middle of two parents, this draw has an intensity that derives from decades of family life leading to an immediate decision. Everyone has one home they remember so fondly, the figure yearns this and the tension gathers when the figure must make his choice, where to live and who with?
Personal Website: https://www.instagram.com/jordansgallerywindow/
The concept of home conjures up a variety of emotions. When we think of a house in this context, each room might bring with it a lifetime of experiences, giving these spaces an elusive essence of history. In times of isolation in these spaces, we may be forced to reckon with this history. Through looking at a variety of familiar subjects and interior spaces, my work examines the role of time and memory and our perception of the present. Working in the medium of oil and acrylic my paintings are developed through a process of layering and blending subdued colours to construct a sense of space. Taking influence from the poetic paintings of the 19th century Danish painter Vilhelm Hammershoi, I am interested in creating an atmosphere that depicts the ordinary and familiar as uncanny.
My work explores a psychological space through an immersive video and sound installation. Placed in a fully darkened room, the installation uses the ‘Pepper's Ghost Effect’ to create the illusion of a holographic display that gives the viewer an insight to an unknown world.
The work looks at the psychological space from a 'feeling space' point of view, which is one aspect of the psychological space. As this kind of place goes beyond our measurable world, the piece aims to visualize an invisible territory and attempts to create an ambiguous atmosphere of vagueness and calmness.
The video animations depict an abstract architectural landscape, playing with a high contrast of light and shadow, to reflect the vagueness of our subconscious.
The holographic projections are placed on plinths in different heights, to encourage the viewer to engage with the piece, as the installation invites the viewer to physically experience space.
My work is titled “Setting the Scene”. Through photographic images of the landscape and nature, including a wide variety of subjects and locations across Cork and Kerry, I share the hidden stories in these places. I believe that the sites we visit and wander into have something to share with us.
For years I’ve had a fascination with the natural environment. Every place is unique, no two places are the same. I wish to highlight how we can communicate and appreciate the natural distinctiveness that is around us.
When it comes to capturing the work, I tend to “Shoot First, Ask Questions Later”. Overtime the stories begins to reveal themselves. One image could be understood as a visual metaphor for the human psyche, whilst another might be a representation of current events. My images are about seeing the world in a new light. This can be beneficial for all viewers.
Click here to view book for ‘Setting the Scene’.
Personal Website: https://kobphotoprint.com/
My work explores our personal relationship with the domestic space and how this experience is an integral part to our being. We spend most of our time in our living space where it has become increasingly a place for work and study. Being in this confinement can often be monotonous, mundane and can sometimes lead to a feeling of entrapment.
Through the medium of installation, sculpture and painting, my work aims to recreate an immersive feeling of the intimacy of home. With the use of bright colours, images and materials, I wish to introduce a sense of play and optimism to subvert the idea of the familiar and routine. The paintings situated throughout the installation are a form of self-portrait that extend this sense of fantasy and optimism through images of the everyday.
Through a combination of jarring video and sound focused on both spaces that might be comfortable to us and those that are unknown, my work explores what it means to be displaced, and questions the possibility of integrating oneself into an unknown environment.
These videos juxtapose spaces such as the family garden or kitchen with night time motorways and train journeys. The strange and unknown that one experiences during a journey clashes with images of the warmth of home, in an attempt to highlight the emotions one experiences when displaced. I aim to portray the contradictions between immersing oneself and feeling alien to an environment, and ultimately creating a hybrid between two spaces.
To convey the feelings of confusion and misunderstanding inherent when people are thrust into a new, unknown environment, this work attempts to create a sense of the uncanny by familiarising the viewer to it and then distorting this familiarity.
I am a rural background which now heavily informs my art practise. I explore the idea of the Queer body and space within Rurality within a hybrid practise. Following my degree, I am continuing my studies to a Masters level in the Netherlands.
The OPW (Office of Public Works) has purchased Exhibiton work from Maitiú that will be now become part of their Collection.
Personal Website: https://maitiumaccartaigh.com
In my art I create immersive pieces that incorporate, painting, sculpture and textiles. I use these mediums to express my admiration for the clouds in the sky and my desire to escape to the clouds to be away from the monotony, anxiety and torments of life on earth that’s currently on hold.
I make art works to cope with my mental illnesses and show people that you can be happy and productive without living a conventional life. Other artists have inspired me to live my life like this as they show that art can be a reason to live. My goal is to create an area that anyone can escape to, to find peace.
I create my work from my memories and images of the sky I have gathered throughout the years. My work also stems from many experiences I have had on this earth so far.
My work reorders familiar domestic space using photography, collage, photo-sculptures and installation. Through these making and display processes, and influenced by set design and stock images, I create – a staging of a staging – allowing a 3D experience of the construction of an image. The figure is a vital part of my work as it allows interaction and a sense of play. Using the avatar of ‘Mini Meadhbh’, I appropriate stock image poses used for commercial purposes. ‘Mini Meadhbh’ takes over scenes playing roles including producer, set designer and chief electrician. The chosen scene is arranged, shot and assembled small scale, and shot again using studio lighting. This transforms the routine scene into a dramatic stage set-up. These images are printed large scale with figures seemingly making their way out of the image into the space of the installation to interact with the audience, making them part of the image’s scenario.
The materiality of my work is both digital and analogue. Large-scale cyanotype prints are exposed naturally in sunlight and complemented by digital prints. Blue tones in the digital prints combined with those in the fabric pieces reference the lapis lazuli pigment used in many religious paintings. It was once believed that only men were skilled enough to be trusted with the pigment, however, evidence has emerged in recent years suggesting that it was also used by women as far back as the 9th century. My body is the subject matter within the work, which explores different mythological women whose stories intrigue me. My current work depicts the story and struggles of Helen of Troy, a woman who was wronged and inaccurately represented. The display consists of accurately scaled silhouettes of my body, allowing for a fair and accurate representation of female self and accomplishment – something which Helen was deprived of.
The OPW (Office of Public Works) has purchased Exhibiton work from Nicola that will be now become part of their Collection.
My present studio work is concerned with the conversation around mental health issues and my sculptures and photographs are a direct conversation with the internal and external landscapes, evoking the human form to reference our uncertainty or anxiety.
In casting the body in abstract terms, I am trying to create an existence in the absence, I reference mythology as way to describe a psychological truth, one that reveals something about the idiosyncrasies of the human condition.
I aim to create an opportunity to gain insight and observe, to create a connection between the viewer and the work, one that resonates with our own innermost being and reality.
It is creative endeavour that is born out of my own experiences and in many ways is an act of meditation. Through my wide-ranging use of sculptural processes, I try to exploit the properties of my materials, painting and casting fabric with jesmonite and plaster to contemplate the relationship between strength and vulnerability.
My sculptural practice entails the construction of life size sculptures of horses, designed to symbolise their historical exploitation.
I am fascinated by the horse - it features heavily in art history, often as a symbol of power. Once a hugely important part of society, central to transport, farming and warfare. Automation now fulfils these roles, and the horse is now viewed as frivolous, a source of beauty and entertainment - forgotten and neglected once it is no longer deemed useful.
My sculptures are made from 6mm steel bars bent by hand and welded. The result resembles the horse’s skeleton, which I then sometimes cover in waste materials - reused feed bags, plastic nets etc... I also like to incorporate natural materials such as mud, grain and grass into my work, referencing, materially, the ancient and enduring nature of the horse and its complicated and close relationship with humankind.
My work is an exploration of discomfort and artificiality within domestic space. Our interior lives are rooted to the spaces we live in, linking place with private psychologies of desire and anxiety. As the home is traditionally associated with a sense of security, my work ruptures this aspirational space and shows that there is more beneath the surface of the conventional. The things that console us and the ones we find unsettling often have the same origins. The home can slide from a comfort zone to a site of disquiet.
My practice includes digital and analogue photography, film, music and installation. Through bodily gesture, the constructed images depict intimate scenes of figures teetering on the verge of dysfunctional moments. Through the combined elements of installation, I play with the perceptions of the viewer in dislocating domestic space. The viewer is not provided with a full narrative but is instead presented with visual and transient fragments.
Personal Website: http://racheldaly.eu
My photographic work reflects on the economic states of the rural town of Urlingford in Co. Kilkenny. My approach is a photo documentary style showing the town’s changes due to economic cycles of growth and downturns. This photographic series works as a microcosm of the development of modern Ireland in the early part of the 21st century. My process involves me visiting various locations that surround and make up Urlingford, documenting my surroundings and gathering visual information. The places I visit, and research are the M8 motorway, the Templetouhy bog, the Islands forest and shops and businesses within the town that are still open and the ones that closed their doors for good. My work with photography also includes publications that detail and archive the changes in livelihoods and how life is lived in this part of the country.
The OPW (Office of Public Works) has purchased Exhibiton work from Rachel that will be now become part of their Collection.
Online Portfolio: https://guilfoylerachel6.myportfolio.com/
My work is two Large sculptures that are constructed from steel banding and domestic objects. It is a visual representation of the emotions I feel towards being a mother and a student. At times I can feel knotted, pulled and twisted between the two, this can make my day to day busy and overwhelming. This is what I wanted my work to reflect.
Using the Banding allowed me the freedom to express these emotions. But looking more into the use of banding, allowed me to understand how meaningful it is to my work. The Banding is wrapped around objects in an effort to support and secure, for me this related to the roles of a mother.
The domestic objects used, were a cot and strollers that were used by my own children. The method in my work was to wrap and knot the steel banding around these objects over and over until they then became one.
My work is a combination of sculpture and performance. It deals with the visceral; not only in its visual echoes of the internal organs and soft structures of the body, but in the raw emotion and instinctive nature of its construction. I have a deep personal connection to the work, large-scale pieces which are the product of prolonged periods of focused, repetitive work; stitching, fusing, taking apart and bringing together. In wearing the work I examine its relationship to gravity, space and perception – performance is central to my research. In my display I use mirrors, windows, and recognisable waste items (drinks bottles, fast fashion and packaging), a language which invites the viewer to see themselves reflected. I feel this work is part of a broader conversation around sensation, emotion, representation and (in)visibility which is current and necessary.
My practice of bright acrylic paintings display a regression to behaviours and archetypes from childhood as a means of escape from the present. They are informed by an interest in transactional analysis, wherein an individual’s state of ego can become childlike in some scenarios of communication. This has translated in the work through an exploration of the sense of ambivalence that reverting back to past comforts at a later stage of life creates.
The paintings are scattered with allusions to movies and stories, in particular The Wizard of Oz (1939). The movie is utilised in the work as a means of tying reality to another more imaginative viewpoint, as seen in the movie itself. The ‘unreliable narrator’, found in literature, is also of influence to the work. This is when the story is told from an individual who cannot guarantee credibility to the reader, and the truth is coloured by their own experience and perception.
The OPW (Office of Public Works) has purchased Exhibiton work from Siobhán that will be now become part of their Collection.
My work is concerned with the creation of imagery that has emerged from emotional experiences and connections to places and events within the landscape. My paintings are intended to express this experience through the use of colourful and playful biomorphic shapes that form in unexpected places, creating a surreal and dreamlike environment. My work has been influenced by the organic biomorphic forms of Matisse’s paintings as well as the words of Josef Albers who wrote ‘that colour is the most relative means of artistic expression.’ Working in oil and acrylic paint and employing a variety of scale the work considers expanse and distance intending to convey the sense of smallness we feel when we are immersed in the mountains. I am interested in creating a rhythm and flow in my paintings that is reminiscent to that experienced within the landscape and undulating hills.
My art practice incorporates the media of printmaking and collage to explore ideas of ceremony and ritual. I am particularly interested in shaman rituals, such as Ayahuasca ceremonies and the depiction of monsters and creatures that derive from early Celtic art, Tarot card illustrations and Greek mythology. I use collage to juxtapose imagery from ancient art, drawing inspiration from medieval time and early cave paintings, shamanism and witchcraft. The act of layering prints through a collage-like process refers to the different stages of trance in shaman ritual. Through print collage
I place value on the various stages of the working process by repurposing throwaway materials such as registration and test prints to generate back into my work. While looking at ancient ritual I print objects that are considered high-value, such as the Grecian vase. I am interested in how this high-art antiquity can be reinterpreted through the repurpose of low grade materials in my work.