‘Curios About…’

30

 

Mo Chlann by Eoin Francis McCormack

Mo Chlann by Eoin Francis McCormack

 

 

Title of Work:
Mo Chlann

Name of Artist:
Eoin Francis McCormack

Materials/Medium:
Oil on Canvas

Dimensions:
7 ft x 5 ft

This work is about …
how the work of the painter and the world of the artist’s studio often seem to exist in contradiction to accepted concepts of “working” in our contemporary culture. To choose to be a maker of something, without a clearly defined purpose, in our society, is something artists must constantly deal with in their work. As a painter, I explore these contradictions through the working methods I implement, stressing the routine and physical labour aspects of working as an artist.

I made this work because …
… I have constructed a practice that explores painting as a work ethic, whilst also examining what a painting might mean to a viewer, and whether or not the things I make in the confines of my studio might have an impact on those who view them.

I hope when people see this work they will …
consider the time they spent worthwhile. I am interested in the time spent by the viewer in front of the canvas. I wonder what they think, and if they consider their time spent as worthwhile.

In terms of art history, this work …
fits into a post-war American idea of painting.

You can see my work …
on my website, eoinfrancismccormack.irish, and at Steambox Galleries, School Street, Dublin 8, and Teeling Distillery, Newmarket, Dublin 8.

 

29

Into the Light by Patricia Fitzgerald

Into the Light by Patricia Fitzgerald

Title of Work:
Into the Light

Name of Artist:
Patricia Fitzgerald

Materials/Medium:
Acrylic paint and metallic pens on black paper

Dimensions:
42 x 42 cm

This work is about …
bringing the light out of the darkness and allowing us to see through geometry the interconnectedness of all things. From the microscopic to the macroscopic, geometric patterns are found in all of nature and even in what we think of as empty space. Plato hung a sign over the door of his school of philosophy “Let no man enter here who does not have a knowledge of geometry.” This work is about seeing ourselves from higher perspective than we normally allow ourselves to contemplate.

I made this work because …
it connects me to something much bigger than myself, to something universal and truthful. In geometry, unlike with words, there are no lies. Only truth. Engaging in this practice, which is entirely intuitive in that I have no expected outcome or destination when I begin a piece, allows me to be fully present in the moment. To allow moments to just unfold. Easily. Effortlessly. And in doing so, larger perspectives become apparent and a profound peacefulness and acceptance ensues.

I hope when people see this work they will …
pause and take stock of their important place in this infinite universe, and realize their connection to themselves and to others and in turn to something much much bigger than themselves. I hope they will breathe and allow themselves just to be with it, if only for a moment. For that is all we have. A series of beautiful moments.

In terms of art history, this work …
From the classical Indian language of Sanskrit, the word “mandala” can be loosely translated to mean circle. But the mandala is far more than just a simple shape. It embodies wholeness, representing the structure of life itself, a cosmic diagram that shows us our relatedness to the infinite. Mandalas can be found in almost all cultures, from Tibetan Buddhism to Islam to Hinduism to Christianity to esotericism and everything in between. It is a centuries-old practice that continues to this day.

You can see my work …
on my website, Facebook, Instagram and Twitter.

 

28

Wander Dublin

Wander Dublin

Title of Work:
Wander Dublin

Name of Artist:
Sarah Hyland Pierce

Materials/Medium:
Smartphone app

This work is about …
…exploring the relationship between walker and city by creating an unpredictable journey through Dublin city centre with the use of the smartphone app Wander Dublin. The user will be engaged physically, mentally and emotionally with the city by following a set of directions and instructions as well viewing thought provoking phrases and quotes that will guide them around Dublin City Centre. It is also about our engagement with technology and utilising that technology to create an experience.

I made this work because …
… in the words of Teri Rueb, “being lost may be an experience that is being lost“, more often than not we commute from A to B unknowingly following the subtle contours put in place by society to ensure efficiency. The work aims to remove the user from the repetitiveness of everyday life by creating an unplanned journey. I am interested in walking as a critical and spatial practice as I believe it is becoming rare that we are completely engaged and mindful of our surroundings.

I hope when people see this work they will …
…question their relationship with the city and how they view it.

In terms of art history, this work …
…is  foremost influenced by the avant-garde techniques of the situationists in particular the technique of the dérive. In terms of contemporary art my practice is influenced greatly by artists such as, Francis Alys, Conor Mc Garrigle and Hamish Fulton.

You can see my work …
…at the D.I.T Graduate Show opening on the 2nd of June at D.I.T Grangegorman you can find out more about Wander Dublin at www.wanderdublin.weebly.com where the app will be available from the 2nd of May

27

 Letterbox Dublin

Letterbox Dublin

Title of Work:
Letterbox Dublin

Name of Artist:
Sarah Bracken

Materials/Medium:
Street art/letters

Dimensions/Duration:
2008-2015

This work is about …
Letterbox Dublin is an interactive street art project. It aims to add to the experience of Dublin City in a positive way, to make it an interesting place to live and visit. It aims to interact with Dubliners and visitors alike – to give them a creative outlet in a public setting and to provide a channel of anonymous expression and confession. The project documents, exhibits and publishes the letters that are themselves, valuable artefacts of the time in which they were sent.

I made this work because …
I was writing my thesis on street art and experimenting with interactive art at the time. The box was a pure experiment. The first Letterbox Dublin was handmade out of scraps of wood, it was put up in Dame Lane in Dublin City and a theme was placed on the box. Since then I have collected a huge archive of letters from the various letterbox themes.

I hope when people see this work they will …
Laugh, cry, be moved and feel connected to the letter writer.

In terms of art history, this work …
This is an interactive street art project, so is inspired by and belonging to the 20th and 21st century street art movement.

You can see my work …
http://www.brackensarah.com/

http://www.brackensarah.com/letterbox.html

26

'Welcome home', Rebecca-Deegan

‘Welcome home’, Rebecca-Deegan

Title of Work:
Welcome Home

Name of Artist:
Rebecca Deegan

Materials/Medium:
Oil painting on canvas

Dimensions/Duration:
12 x 16 inches

This work is about …
…the romanticism of dire situations, in this case, having no place to call home. Finding safety in less than comfortable places, and having faith in a higher power.
‘The moon will always guide you, the fog will always hide you, the sun will always warm you, and the stars are those which have borne you.’

I made this work because …
…I wanted to create an artwork that tells the viewer about homelessness in a different way to how they would normally view homeless people. This piece was specifically created for an event hosted by Common Grounds Collective to raise money for Focus Ireland.

I hope when people see this work they will …
…enjoy the aesthetic and romanticism of the painted subject before realizing the true situation that the artwork is depicting; the vulnerability and isolation felt by those who have nothing.

In terms of art history, this work …

    …shows the viewer about modern day issues, but in a more idyllic, dreamlike setting.

 

25

FRAKTA by Finlay Byrne

FRAKTA by Finlay Byrne

 

Title of Work:
FRAKTA

Name of Artist:
Finlay Byrne

Materials/Medium:
Double knitting wool

Dimensions/Duration:
55 cm x 37 cm x 35 cm

This work is about …
a reinterpretation of iconic mass-produced items through craft processes using IKEA as a focal reference point. Through the changing of the process, the work aims to raise questions around the process of making and the time and labour invested in a product that could have been quickly purchased in the international furniture chain, IKEA.

I made this work because …
I had just finished my thesis as part of my fourth year in Dublin Institute of Technology’s bachelor’s degree in fine art. Through a keen interest in the varying treatment of handicrafts and fine arts within the visual-arts world, the ideas around value and investment into the making process were of great important to my practice. In the making of this work as well as others in this series, time, material and labour are all key components.

I hope when people see this work they will …
question the value and appreciation of handmade objects. The time and labour investments in handmade objects add more character and a unique appreciation for the making of the object. They are far superior, in my opinion, to mass-produced objects such as those sold at IKEA.

In terms of art history, this work …
is similar to Claes Oldenburg’s works such as “Soft Pay-Telephone”. His reinterpretation of mundane objects raised curiosity around the making of the objects, as well as the meaning behind them. William Morris is a key figure in relation to the issues investigated in my practice, specifically for his text “The Revival of Handicraft” from 1888.

You can see my work …
…at the Dublin Institute of Technology graduate exhibition, opening 2 June 2016 at the Grangegorman campus, as well as on my Facebook page, here.

 

24

Equus Caballus by Alison Tubritt

Equus Caballus by Alison Tubritt

Title of Work:
Equus Caballus

Name of Artist:
Alison Tubritt

Materials/Medium:
White pencil on black paper

Dimensions/Duration:
A4

This work is about …
…the use of the traditional process of drawing within the contemporary art world today. There has been a manipulation of my knowledge and interest in the study of horse anatomy within the works. A play on light and shadow through the use of the horse highlights its physical features. The project – what you see here is one drawing from a series – has become more about the physicality of drawing rather than the subject matter. My emphasis is on attention to detail and technical execution.

I made this work because …
being a final year student studying fine art in DIT, I sometimes find that in the contemporary art world, the traditional mediums and processes of art seem to be things of the past, with performance and installation gaining popularity. So I took a subject I have always had an interest in and passion for, which has also played a part in art history, and using it to bring new ideas of traditional processes to the contemporary art world.

I hope when people see this work they will …
interpret the work in their own way and take what they will from it. But also see the skill and beauty behind the work and the attention to detail.

In terms of art history, this work …
explores a traditional process and subject matter that some of the great artists before us have explored, for example, George Stubbs. The horse has played a part in nearly every area in art history. Although it has many cultural ties, I do not portray any certain part in my work.

You can see my work …
…at the DIT Graduate Exhibition opening on the 2 June 2016 in the Grangegorman campus, and also on my Facebook and my Tumblr.

23

ImagineHareium by Sandra Schoene

ImagineHareium by Sandra Schoene

Title of Work:
ImagineHareium

Name of Artist:
Sandra Schoene

Materials/Medium:
Fiberglass/acrylic paint

Dimensions/Duration:
3 ft tall

This work is about …
This is about a hare, my “ImagineHareium” and the wonderland in my head which I have tried to project onto this unusual canvas. It’s about a twinkle in your eye, a sparkle of fairy dust and a bit of magic. The Hares on the March campaign (run by the Jack & Jill Children’s Foundation) is a unique art display where 110 hares can be found in the city. Check this website for details.

I made this work because …
…for me I think, anything is possible at any age, despite any limitation that we may be born with. We should nourish love, trust, friendship, and be true to ourselves, then we can face what we are destined to do – in our reality, our dream, our own wonderland. When I read the project brief, I knew it was for me! Being an aspiring illustrator with a quirky style, a LOT of imagination and a supporter of any good cause, I was super thrilled when they selected my proposal for a hare.

I hope when people see this work they will …
The question I would like to put to the audience is: can we travel back to our childhood, and reawaken that sense of wonder we possessed when we were younger and free to imagine whatever we liked? I want to invite people to discover their inner Alice by following the imagery around the hare, inventing their own story of what they see. People can adopt or bid for any of the hares, too, in an online auction.

In terms of art history, this work …
…For centuries, the hare has been a symbol of many things: madness, genius, luck, protective powers, magical powers, a union of opposites, mystery and contradiction. It is also associated with Easter, the moon, dawn and transformation. I often take inspiration from stories such as Alice in Wonderland, classic childhood fairy tales, artists like Dalí and Tim Burton.

You can see my work …
…The hare is being displayed at the Conrad Hotel, Dublin for the duration of the Hare Trail. Find me on Facebook, or on Pinterest/Twitter @SchoeneSan.

22

Roundabout by Naomi Taitz Duffy

Roundabout by Naomi Taitz Duffy

Title of Work:
Roundabout

Name of Artist:
Naomi Taitz Duffy

Materials/Medium:
Mixed media on wood panels

Dimensions/Duration:
10in x 16in x 2in

This work is about …
This painting is part of a series of small paintings based on maps of Dublin and the surrounding area from the 1700s and 1800s. By incorporating elements of old maps into otherwise abstract paintings, the line between what serves as information and what is simply a visual element becomes blurred. For me, the maps offered a new vocabulary from which to draw inspiration for my paintings, and at the same time drew me in as abstract compositions of their own.

I made this work because …
When I came to Dublin to take part in a residency at the Mart in Rathmines, I stumbled upon an old atlas of the city that piqued my interest. I immediately saw the juxtaposition of shapes, lines, and colour in the old maps as an abstract painting waiting to be made. After having worked on purely abstract pieces for a while I was excited by the idea of working from a source that felt like a natural extension of the geometric and pattern-based work I had been doing.

I hope when people see this work they will …
To me, this work has a lot to do with looking past the initially intended meaning of things we see everyday and finding some piece of beauty in them. This is especially true for items that are technical in nature but show the marks of the human hand, which old maps and diagrams tend to do. Developing the visual vocabulary of maps into paintings is for me a way of showcasing the beauty contained in seemingly mundane objects of our everyday.

In terms of art history, this work …
The paintings in this series begin as simple abstractions and are layered with the marks of map-making. I enjoy beginning with fields of colour, inspired by pure abstraction, and adding to them with technical marks that can be said to reflect elements of modern industrial life. In a way, these paintings take visual elements not intended to be art at all and turn them into “fine art”, as I suppose abstract artists have always done.

You can see my work …

 

21

the-recovery-no.-1

the-recovery-no.-1

Title of Work:
The Recovery

Name of Artist:
Emily Mc Gardle

Materials/Medium:
Screenprint on newsprint

Dimensions/Duration:
762 x 508mm

This work is about …
…the Irish general election and Irish politics in 2016. This body of work should act as an archive for the 17 week period from the start of January to the end of April which will cover the run up to the general election, the election campaign, and its aftermath. Each week, a new screenprint in the format of a mock front page of a newspaper will be produced which will present an overview of the week’s political stories, both significant and seemingly insignificant. Each will be an edition of 100.

I made this work because …
…I want to highlight the absurdity of the behaviour of some Irish politicians through the use of satire. Numerous news sources such as Waterford Whispers create fictitious news stories, I aim to present real news stories in such a farcical way that they appear to be made-up, while still being informative. It could be said that politicians tend to act irrationally during an election campaign, serious news reporting is often unable to emphasise the sometimes ridiculous nature of election stories.

I hope when people see this work they will …
…consider the importance of the actions of politicians, how they speak and how they conduct themselves. If a politician is consistently making gaffes or causing controversy, even if these occurrences are seemingly innocuous and insignificant, they all add up. I would hope that people would take into consideration election candidate’s behaviour over the lifetime of the current Dáil instead of what they may promise to do during the election campaign.

In terms of art history, this work …
… is connected to the mass production of work by artists such as Andy Warhol because of the use of screenprinting to reproduce images. The relatively easy method of screenprinting allows for large editions to be printed rather quickly, this also references the large volumes of ephemera produced during elections: flyers, leaflets and posters.

You can see my work …
The Recovery project along with other work about Irish politics is available to view on my website: www.emilymcgardle.com and facebook page: www.facebook.com/EmilyMcGardleArtist.

 

20

Cecilia Bullo: Wound X

Cecilia Bullo: Wound X

Title of Work:
Wound X

Name of Artist:
Cecilia Bullo

Materials/Medium:
Marble, human teeth.

Dimensions/Duration:
50 X 10 X 8 cm

This work is about …
…exploring Freudian’s theory of the toothed-vagina, it’s about women showing their teeth against the patriarchy, it’s about women being strong and fighting back. It also explores mutation and hypothetical ‘what if’s‘ in science.
This piece was done a few years back, but it recently featured in the London based art & science on-line magazine – CLOT.

I made this work because …
…I was exploring mutant forms at the time and was also working a lot in stone, my aim was to make marble look like flesh in this piece. I had also had a bike accident in which I fractured some of my teeth, during one of my endless visits at the dentist I came across an article on the anti rape device developed in South Africa and the idea of this Freudian toothed-visceral-wound started to come about.

I hope when people see this work they will …
…feel curious and a bit uncomfortable, allowing the ambiguity of the work to tease at their subconscious.

In terms of art history, this work …
…would probably fall in the broad spectrum of sculpture and conceptual art.

19

Icon Study_Neil Dunne

Icon Study_Neil Dunne


Title of Work:
Icon Study

Name of Artist:
Neil Dunne

Materials/Medium:
Screen-print on primed MDF

Dimensions/Duration:
244cm x 122cm

This work is about …
… the idea of an icon in a religious context. Icons and what they represent  interested me and I guess this work was a way that I can explore that in greater depth.

I made this work because …
…the idea of appropriating this imagery into my work for its desired effect, particularly with its scale, was something I really wanted to do. For me it presented a lot of challenges but I loved the physicality involved with making larger works.

I hope when people see this work they will …
The scale and emotion in the subject’s faces always dictates how I would personally respond to the work and this was something I was keen to represent. I enlarged the background characters and I tried to focus in on individuals that had no real part in the central theme of the painting, aside from their emotive response.

In terms of art history, this work …
…has a very strong relationship with traditional painting, the replication of this through the medium of screen-printing once again challenges the ideology of icon. The significance of the image and the meaning behind it becomes somewhat subversive, particularly when referenced to the original work.

You can see my work …
… on my website,  www.neildavidjames.com.
I also have some pictures on my instagram from a photographic series I’m working on, follow me at neildavidjames.

18

primitive-reflex-grainne-tynan

Primitive-Reflex Grainne Tynan

 

Title of Work:
‘Primitive Reflex’
Name of Artist:
Grainne Tynan
Materials/Medium:
Thermoplastic splinting material, steel, ink, wood, electric splinting bath, table & water.
Dimensions/Duration:
700mm x 700mm x 1700mm (WxDxH)
This work is about ….
..the place of shared myths in today’s world, exploring boundaries between superstitious and scientific thought. ‘Primitive Reflex’ investigates the human desire to heal another’s trauma and place this in direct relationship with shamanic tribal rituals.
I made this work because …
…I wanted to explore my experience of working as an Occupational Therapist with people who have suffered a trauma to the central nervous system, resulting in the return of their infantile (or primitive) reflexes.
I hope when people see this work they will …
… enter into a discussion about the principles and materials used by healthcare professionals, empowering them to question approaches used in the recovery from trauma.
In terms of art history, this work …
… references primitive art through the use of tribal motifs in the anatomical drawings.
You can see my work …
…in Trauma exhibition in Science Gallery Trinity College Dublin which runs until 21 Feb 2016.
Artist website:   www.grainnetynan.com

17

'Fontanelle' by Orla O'Regan

‘Fontanelle’ by Orla O’Regan

Title of Work:
Fontanelle

Name of Artist:
Orla O’Regan

Materials/Medium:
Porcelain

Dimensions/Duration:
4.5 inches by 2.5 inches

This work is about …
Fontanelles are soft spots on a baby’s head which, during birth, enable the baby’s head to pass through the birth canal and be born, allowing their head to change shape as the bones slide over each other. Fontanelles remain open for 9 to 18 months, and pulsate, echoing the baby’s heartbeat. This pulsating action is how the soft spot got its name, fontanelle, meaning “little fountain”.

I made this work because …
this time last year I was pregnant and was fascinated by the birthing process. It was a subject so close to my heart that I wanted to create a piece so special to represent what was going to happen within my own body. Porcelain was my choice of material due to its delicate nature, which mimics the delicateness of the baby’s skull and fontanelle.

I hope when people see this work they will …
… appreciate how this delicate sculpture piece resembles that of the baby’s skull and how amazing and precious childbirth actually is.

In terms of art history, this work …
A more recent piece which comes to mind relating to the fontanelle is Damien Hirst’s For Heaven’s Sake (2011), a platinum, diamond-encrusted, baby-skull sculpture, moulded from the skull of a baby who died before it was two weeks old. This piece was condemned for its insensitivity to parents who have lost a baby. Fontanelle, in comparison, aims to evoke a sense of respect and awe towards this precious and personal subject matter.

You can see my work …
online here and here.

 

16

'Land's End' by Billy Kenrick

‘Land’s End’ by Billy Kenrick

Title of Work:
Land’s End

Name of Artist:
Billy Kenrick

Materials/Medium:
35mm/medium-format photographs, digital video/video stills

Dimensions/Duration:
Photo and video slideshow, circa 5-10 mins

This work is about …
“Land’s End” is an ongoing, cumulative work featuring photographs and video footage shot at the nethermost point of land at the edge of Ireland/Western Europe. It marks a break from the mainly narrative-driven photo sequences that I had been working on before this. It started off against the backdrop of the so-called crisis, and the effect of this fed into the project in its own way. Working with video is relatively new for me, so I am exploring the possibilities of combining still and moving images. I am currently working on expanding the slideshow version of the series to integrate new material and broaden its scope.

I made this work because …
… in recent years I have been interested in working in specific locations. This involves revisiting the same area intermittently over the course of a few years. I have a couple of projects that are site-specific in this sense, and feature fairly remote spaces. It’s a question of finding an atmosphere that’s conducive. I find it interesting to work in such spaces as they provide a backdrop to work against, photographically. The locations are personally significant, but are not treated as subject matter as such – more like an arena within which to work, and to generate an atmosphere that is psychologically resonant.

I hope when people see this work they will …
I would like the work to be experienced as a kind of interior travelogue.

In terms of art history, this work …
I’m interested in working in a personal, diaristic style. So far, I have worked primarily with analogue black and white photography – for me, it deals more effectively with an aesthetic of tension and contrast, and I find there is more room for accidents, interference and imperfection. In this sense, the work could be tied into a lineage of photographers working in this vein of subjective documentary.

You can see my work …
at www.billykenrick.com

 

15

'Alice' by Larry Dunne

‘Alice’ by Larry Dunne

Title of Work:
Alice

Name of Artist:
Larry Dunne

Materials/Medium:
Ballpoint Pen, 6B Pencil, and Staedtler Markers on Cream Paper

Dimensions/Duration:
11.7 x 16.5 inches

This work is about …
The chaos of life in the face of certain death, and amalgamating some of my favourite things into one chaotic instance to form a new narrative; Alice in Wonderland, mass produced panda toys, and the theory of memento mori.

I made this work because …
honestly, it started as a small sketchbook collage from 2012 that was rediscovered and subsequently turned into a full scale illustration in 2015.

I hope when people see this work they will …
…consider the joy of absurdity and chaos in the face of mortality.

In terms of art history, this work …
…is inspired by the illustrations of John Tenniel, the ever popular subject of memento mori, and Liu Bolin’s disguise artwork, from which I developed the concept of the panda laden background.

You can see my work …
on my dedicated Facebook art page at: https://www.facebook.com/LarryDunneArtwork

 

14

'Kathleen Daly' by Ciara Harrison (from Shadowed Women, 2016)

‘Kathleen Daly’ by Ciara Harrison, from Shadowed Women, 2016

 

Title of Work:
Shadowed Women

Name of Artist:
Ciara Harrison

Materials/Medium:
Cotton Organdy, Thread, Copper

Dimensions/Duration:
Seven panels of .5 x 1 metres

This work is about …
The collection features seven portraits focusing on the wives of prominent rebel leaders. These delicate and sensitive works give recognition to the commitment, sacrifice, intellect, bravery and loyalty of the women who lived in the shadows of the 1916 Rising. The personal narratives of these women have been marked in Sinead McCoole’s Easter Widows (2014) which details the stories of seven couples and the subsequent lives of the women after the loss of their husbands.

I made this work because …
I wanted to visually commemorate the survivors of the Rising.  The situation for many women who were widowed after the fighting was dire.  The death of their spouses resulted in the loss of the household income.  Many were left in economical and
emotional turmoil.  I wanted to expose this aspect of the Rising – the human, emotional side for those remaining or left behind.

I hope when people see this work they will …
My hope is that viewers of this work will reflect on the lives of these women and other survivors of the Rising.  The detail in the work can only be seen from close examination.  This encourages the viewer to spend time with each woman where they become more than just wives of rebel leaders but rather examples of human strength and sensitivity in the face of adversity.

In terms of art history, this work …
The work is historical in theme.  The portraits are produced on a delicate, paper like fabric called cotton organdy. The portraits are inspired by charcoal drawings I created of each woman and these drawings are then transferred to the fabric with the use of a sewing machine.  The machine stitching, rather than hand stitching, replicates the energy and movement of the charcoal drawings giving life to the works.

You can see my work …
In the Little Museum of Dublin until April 2016 or at www.ciaraharrison.com

 

13

Grotesque Beauty by Ciaran Bowen

Grotesque Beauty by Ciaran Bowen

Title of Work:
Grotesque Beauty

Name of Artist:
Ciaran Bowen

Materials/Medium:
Acrylic, oil and silicone on canvas

Dimensions/Duration:
5.5in x 7.5in

This work is about …
investigating the materiality of paint and how I can manipulate it in its raw state to make forms. The work raises questions about the concept of the traditional four-cornered canvas, and it attempts to push outside these constraints to question of what exactly painting is.

I made this work because …
I want to investigate the relationship between painting and mediums which wouldn’t usually be associated with paint. By using these non-traditional mediums, such as silicone, glue and latex, by applying these materials in different manners, I can create a one-off piece that evolves in its own formless manner, which creates its own self of structure and motif.

I hope when people see this work they will …
question the piece in terms of its identity in the art world. I want people to question the intention of the piece: is it attempting to be a sculpture or a painting? Or is it merely hanging in between these two practices?

In terms of art history, this work …
falls under the expanded field of painting: anything goes, pushing boundaries.

You can see my work …
on my website, Instagram, Twitter, and elsewhere.

 

12

In_Blue_by_Derick_Smith

In_Blue_by_Derick_Smith

Title of Work:
In Blue

Name of Artist:
Derick Smith

Materials/Medium:
Acrylic and gesso on board

Dimensions/Duration:
30x28cm

This work is about …
…the interaction of the paint, as a physical object, with itself.  It is intended that the work elicit a response or evoke a feeling which may arouse curiosity and allow the viewer to openly create associations without a specifically defined terminus.

I made this work because …
…it is intended to serve as a framework around which the viewer can momentarily gather and arrange, or scatter and disposes themselves of, inner images or associations. Through the manipulation of the paint a sense of form is created which, when examined closely, tends to fall apart.

I hope when people see this work they will …
…see it with both the inner and outer eye and be given a momentary pause in which to pour one’s own vision.

In terms of art history, this work …
..draws something from the colour palette of Neo-Impression,  the formality of Abstract Expressionism and the aesthetics of contemporary street art.

You can see my work …
www.dericksmith.ie
www.instagram.com/dericksmith

11

cashell_window_by_Fiona Naomi Cashell

Title of Work:
Window, 2015

Name of Artist:
Fiona Naomi Cashell
Materials/Medium:
Lens Based Digital Art

Dimensions/Duration:
Dimensions: Variable

This work is about …
…the movement and transition of memory and time through explorations of our relationships to environment, place and people. I was also very inspired by the philosophical theory of the Sublime.

I made this work because …
…I kept going back to the same place in search of someone I loved. Trying to feel their essence in that place and trying to capture their presence through my eyes, and my lens. I was also very drawn to this particular beach during a cold New York January, when it is usually deserted. Somehow, that’s how I felt inside. But, there is warmth in the cold in that we do find peace through solace, and I found some of it that day on the empty expanse of West Meadow beach, New York.

I hope when people see this work they will …
…feel a sense of atmosphere and emotion. With the application of abstract elements, my hope is that you go somewhere else, beyond the horizon line, and through the imaginary window of the mind.

In terms of art history, this work …
…is new. I hope. In my practice I don’t do very much visual research (I mostly read and work from automatic writing, academic research and poetry). Therefore, I can’t necessarily link it to any time in art history or any particular practice or artist.

You can see my work …
at fionacashell.com and vimeo.com/fionacashell

Fiona Naomi Cashell (b. Dublin, Ireland, 1981) is a lens based digital artist, who is currently based in New York.

10

Dirty Look at the Dail Day_Ciara_Scanlan

Dirty Look at the Dail Day by Ciara Scanlan

Title of Work:
“Dirty Look at the Dail Day’

Name of Artist:
Ciara Scanlan

Materials/Medium:
Mixed

Dimensions/Duration:
Boundless / ongoing

This work is about …
…calling upon the people of Ireland to give the Dail a ‘Dirty look’ (The ‘Dirty Look‘ Day was an intervention in 2011). During 2010, Ireland saw a rise in protests and social action. However the government did not change their course on any of the issues. In retaliation to this I decided to try a new avenue and called for a mass protest called “Dirty Look at the Dail Day‘.

I made this work because …
…in Ireland we refer to ‘A Dirty Look’ not in a sexual or amorous context, but use it to express disgust or dissatisfaction. It is passive aggressive and ultimately a futile act. I sent out a press release calling on the Irish public to come at 1pm on the 5th of May (and was hoping for 1,000 people strong), to give the house of government a minute long ‘Dirty Look’. Within two hours of the release I was on national radio and TV stations trying to explain how an artist wanted to stage this intervention/protest.

I hope when people see this work they will …
The work sparked conversion and angered and irritated many people because of it’s blatant satire on protest. The intention was to comment on the often powerlessness of the protester and how humour can be a unifying force to instigate debate and action.
Maybe we need a ‘Dirty Look Day’ in 2016?

In terms of art history, this work …
I primarily work as an interventionist artist. In my  practice I try and access the general public response and insert myself (un)comfortably into the public sphere. I see everyday people as inspiration to my work and see my role as an artist to be inside the routine of living rather that in opposition with it. I am inspired by pioneers of intervention like Adrian Piper, Sophie Calle and Francis Alÿs.

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09
As Twilight Fades by Aaron Smyth

As Twilight Fades by Aaron Smyth

Title of Work:
As Twilight Fades

Name of Artist:
Aaron Smyth

Materials/Medium:
Stone Lithograph and Layered Silk Screen

Dimensions/Duration:
75 x 55 cm, One in a series of 10 artworks.

This work is about…
This work is from my recent series ‘The Fragile Nature of Intimacy’ which interrogates ‘lived experience’ and ‘Being’, asking questions of gender, intimacy and relations.The series explores these themes from both sides of the discord between corporeal and metaphysical understandings of ‘being’; what Barthes describes as the division between ‘The Real’ and ‘The Lived’.

I made this work because…
I produced this body of works as an investigation into Intimacy & Individualism, striving to create semi-ambiguous artworks as vessels for an audience to explore and experience, giving form to their feelings. The work pushes past the boundaries of the physical world by distorting the familiar. What at first appears ostensible subsequently reveals itself as a bricolage of body and gesture, time and experience allowing a greater reflection upon the tenderness and toughness of this temporal place.

I hope when people see this work they will…
I always create artworks for an audience to dismantle, deconstructing the layered narrative that the image presents, deciphering the socio-cultural and art historical gestural representations and the specific use of the fragmented body within the work. These images are constructed as a vessel for an audience to explore and engage, posing questions and presenting equivocal narratives allowing the viewer to enrich the image with their own histories and emotions.

In terms of art history, this work…
This series of work presents a layered bricolage of gestural motifs drawing from the rich collection of art historical and socio-cultural visual imagery. Paintings such as ‘The Incredulity of Saint Thomas’ and ‘The Mocking of Christ’ among others have helped in informing this collection of works. This inclusion of art historical references allows an audience to engage with the work on multiple dimensions allowing for various meanings to present themselves for different viewers.

You can see my work…
www.aaronsmythartist.com
www.facebook.com/aaronsmythartist
www.instagram.com/plasticyouth

 

08

Phoenix Park Palare (Polari) by Conor O'Grady

Phoenix Park Palare (Polari) by Conor O’Grady

Title of Work:
Phoenix Park Palare (Polari), 2014

Name of Artist:
Conor O’Grady

Materials/Medium:
Photography/installation/intervention

Dimensions/Duration:
24 inches x 34 inches

This work is …
a series of three grainy, gritty images of a park bench at Dublin’s Phoenix Park, taken over a six-year period, which document a certain type of alienation. The first image’s text reads “CLEAR GAYS OUT OF OUR PARK TAKE CAR NUMBERS FOR GARDA”. By 2014, this has mutated into “TAKE NOTE ON GARDA CCTV CAR NO TAKEN FOR PRESS SO BE AWARE”.

I made this work because…
the recent success of the same-sex-marriage referendum will have an overwhelmingly positive effect on the lives of homosexual people in Ireland. A space of physical and emotional freedom has been created which cannot be undone. However, for those men and women who will remain marginalised within society, for whatever reason, the outcome of the referendum will have little effect at all.

In terms of art history, this work…
references several aspects of street art, interventionist practices and the performative action.

You can see my work…
on my blogspots at In This Nation and Conor O’Grady Fine Art.

 

07

The Art Critic by James Devlin

The Art Critic by James Devlin

Title of Work:
The Art Critic

Name of Artist:
James Devlin

Materials/Medium:
Ink on paper

Dimensions/Duration:
20cm x 20cm (unframed)

This work is about . . .

Finding humour and levity in the criticism of a subjective medium, such as painting, drawing, photography, arts. A critic often furrows his brow and squints his eyes for ages over something the artist plays with.

I made this work because . . .

I was practising simplicity and detail, and how to make something strong out of a substance as delicate as ink. With plenty of dead space for a person to imagine. I wanted to make people smile, plus I needed the exercise for my arm. I  was happy with the result.

I hope when people see this work they will . . .

Smile, or laugh (even internally) and wonder what I was thinking when I created the piece. And wonder what an art critic would think, what they would look like and whether that look is attractive. If the piece is very successful, people might rethink how seriously they take art, and it’s critics.

In terms of art history, this work . . .

Is quite primitive in its style and modern in its subject matter. I enjoy mixing styles that might at first glance be abrasive. I don’t get too caught up in nostalgia.

You can see my work . . .

At “The Bleeding Horse Creative Space” from Thursday 12th of Nov to Dec 8th” as part of my solo exhibition, as well as on my website and on my Facebook page.

 

06

Abbey St., Dublin by Talia Moscovitz

Abbey Street, Dublin, 2015 by Talia Moscovitz

Title of Work:
Abbey Street, Dublin. 2015

Name of Artist:
Talia Moscovitz

Materials/Medium:
Photograph

Dimensions/Duration:
Archival Ink Jet Print. 29.7 x 42.0cm

This work is about…
East and west, new artisan coffee shops and century old pubs, street vendors and barristers, LBGT bars and Vietnamese Noodles; take a walk around the Northside and the many layers of contemporary Dublin culture will be revealed to you in a vivid, buzzing pastiche. The Dublin that was, the Dublin that is, and the Dublin that is becoming are all there on the streets, merging, overlapping and entwined.

I made this work because…
I returned to Dublin this past summer after living away for several years.  I moved into a friends flat off of Capel St. After years of bouncing between flats around Harold’s Cross, this was my first time experiencing the Northside as a resident. I was immediately inspired to photograph the clash of diverse of cultures and socio-economic classes that intertwine along Abbey Street.

I hope when people see this work they will…
recognize the challenging look in the boy’s eyes as revealing of the confident sense of self and authority over public spaces that seems to go hand in hand with growing up in Dublin.

In terms of art history, this work…
is an extension of the rich history of social documentary photography that has come out of Ireland over the past 30 years.

You can see my work…
on my website, taliamoscovitz.com, and on Instagram, Talia Moscovitz.

05

Untitled, by Sandra Hickey

Untitled, by Sandra Hickey

Title of Work:
Untitled

Name of Artist:
Sandra Hickey

Materials/Medium:
Oil on Canvas

Dimensions/Duration:
12×10

This work is about …
…how the subject matter appears to be neither male nor female – it is somewhere or something in between, suspended in a space unfamiliar to our perception of reality, a mutated form of a human symbolising the twisted nature of our unconscious. The figures have neither faces nor eyes thereby allowing the audience to voyeuristically consume without being seen.

I made this work because …
…I start each painting without a set composition in mind, instead  I let the painting evolve.

I hope when people see this work they will …
… deal with aspects of the unconscious mind. I used the human body to portray aspects of the twisted nature of the mind: distorting the body and portraying it as an unfamiliar creature that has components recognisable as human.
These Frankenstein-esque manifestations were twisted & dark, deceitful yet recognisable. What I am trying to do with these pieces was to lead the audience inside their own mind, interacting with their inner-self and the composition.

In terms of art history, this work …
… is figurative, abstract and surrealist.

You can see my work …
cargocollective.com/sandrahickey
www.saatchiart.com/sandrahickey
instagram.com/sandralouisehickey/

 

04

Sa-Brina-Ah-Ah, by Leah Hewson

Sa-Brina-Ah-Ah, by Leah Hewson


Title of Work:
Sa-Brina-Ah-Ah

Name of Artist:
Leah Hewson

Materials/Medium:
Oil  Paint on Canvas

Dimensions/Duration:
22″ x 18″

This work is about …
..the play and effect of elements in contrast. Where this painting is primarily realised in it’s traditional methods of literal likeness through oil painting it is also distinctly described through ‘stereoscopy‘ which is a modern method of creating the illusion of depth. The contemporary subject appears demure and regal in her presence. This is a common position seen in traditional portraits but she wears a hat positioned amusingly on top of her head adding humour to the entire composition.

I made this work because …
…I enjoy humour in my work and thought this subject had engaging content with the juxtaposition between the old and new. I wanted to create a challenge for myself as a painter of the figure. The three -dimensional effect ads a broad spectrum of intense colour which is an interesting disparity with the neutral colours of the figure and background. The overlapping image on itself through stereoscopy challenges the creative eye to unsee the figure in entirety.

I hope when people see this work they will …
..enjoy the composition light -heartedly and identify with the analytical approach of adding the three -dimension to a traditionally executed portrait.

In terms of art history, this work …
..is reminiscent of traditional Renaissance portraiture but is represented in a contemporary manner. The position of the figure and intensity of colour is particularly familiar of Jan Van Eyck‘s portraits. Chiaroscuro plays a considerable roll in this painting as the light is focused on the figure.

You can see my work …
www.leahhewson.com
facebook: leah hewson art
Instagram:  #leahhewsonart

 

03

Assembly, By Edel Cox

Assembly, By Edel Cox

 

Title of Work:

Assembly

Name of Artist:
Edel Cox

Materials/Medium:
Charcoal and Conté on Paper

Dimensions/Duration:
70X100cm

This work is about …
… the culture of mass production, and the cycle of extraction, production, consumption, disposal and reuse. The women attempt to assemble damaged and curious materials, in a process that appears to have no beginning and no end. It is also a sort of reflection on working a normal 9 to 5 job, where the content is kind of strange and unrelatable to you. The feeling of being engaged in a seemingly repetitive and pointless activity that is never called out.

I made this work because …
… I watched that documentary ‘Manufactured Landscapes‘ and I was also working in a crappy job. It was a joining of the two experiences.

I hope when people see this work they will ..

… note how its kind of unfinished and pretty rough around the edges, but will also appreciate that.

In terms of art history, this work …
… is a contemporary expressive drawing. Around the time I was making this type of work, I went to see the Alice Maher retrospective in IMMA. I felt a connection to the darker intensive drawings of ‘The Thicket‘ and what I was attempting to do myself.

You can see my work …
… mostly shoved into various wardrobes and cubbyholes around my house, and also at edelcox.weebly.com

 

02

'Our Summer' by Nero Sunero

‘Our Summer’ by Nero Sunero

Title of Work:
Our summer

Name of Artist:
nerosunero (Mario Sughi)

Materials/Medium:
Archival pigment print / on photo rag paper mounted on dibond

Dimensions/Duration:
120x170cm

This work is about …
our summer here in Dublin bay. of course there is a bit of freedom and imagination… but the lights and the spirit is the one you will meet on one sunny morning of July/August if you were on one of our beaches just outside town. they are quite different from all the other beaches in the world! mainly because the water is cold, the lights are strong and the mood (when the sun comes out) is very high!

I made this work because …
I had to make a new large work for the New Generation Festival that will open in Vicenza, Italy, next month (Oct. 2015).
And I wanted to make some interesting work in matter of lights and composition and a work that would be quite representative of my production. There is always an element of sharpness in my work but that comes with a bit humanity someone wrote somewhere talking about a recent exhibition of mine .
And possibly this is true for this work as well!

I hope when people see this work they will …
just say…. ahhhh! (and maybe someone will add ahhhh …. this is really beautiful!!!!)In terms of art history, this work …
is in between David Hockney and Alex Katz, but very much nerosunero!You can see my work …
on my website at:www.nerosunero.org
as well as on the New Irish Art website at  http://www.newirishart.com/irish-artists/mario-sughi-artist.htm

01

Don’t Harangue the People - Francis Quinn

Don’t Harangue the People – Francis Quinn

Title of Work:
Don’t Harangue the People

Name of Artist:
Francis Quinn

Materials/Medium:
Bic pen on cartridge paper

Dimensions/Duration:
20cm X 20cm

This work is about …
It’s got an internal logic with is its own set of rules and hierarchy. It’s a bit balls out crazy and zany in a cartoony kind of way.

I made this work because …
I was bored in an office job and this is how I respond to that sort of enforced normality.

I hope when people see this work they will …
Really take the time to see the physical relationships between the characters and how each character relates and responds to the World in which they are placed. I hope they appreciate the intricately drawn quality.

In terms of art history, this work …
It has elements of Surreality to it and has a Boschian logic and has the clean line quality of Northern European Print. But it’s quite contemporary because it is drawn on cartridge paper with a Bic pen.

You can see my work …
www.francisquin.com
http://francoquinn.tumblr.com/
https://twitter.com/francoquinn
https://theartofhoneybadger.wordpress.com/
http://thewaywisercollective.blogspot.ie/

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