Image Tony O' Driscoll
Vanessa is a visual artist and avid open water swimmer based in Dublin. Vanessa’s art practice explores place through swimming. ‘Place’ being the watery spaces navigated and swam through, the surrounding littoral space and the social spaces created by this shared activity. Vanessa is interested in why we swim, and how through acclimatisation and adaption we can surprise ourselves and go beyond our expectations.
On September 6th 2016 Vanessa Daws became the first person to swim around Lambay Island in Dublin Bay. This 8k circumnavigational swim took 3.17 hours and was the third and final swim in her project “The Lambay Swim Trilogy”, a series of swims to, about and around Lambay Island. Vanessa uses swimming, conversation, video, sound recordings and drawings to create installation and live art events.
Vanessa has been selected for a 2017 Project Studio in TBGS and has recently been awarded the Docklands Small Grants Award 2017. Vanessa has just finished a Fingal Arts studio residency in Loughshinny Boathouse and prior to that a two month Digital Art Residency at the Fire Station Studios. In 2015 Vanessa was selected for the UCD Art in Science Residency and was given the Neville Johnson Award as part of this residency. Vanessa was a recipient of the Artist in the Community Award from the Arts Council of Ireland & Create in 2013 where she collaborated with the sea swimming community from Malahide, Co Dublin.
Vanessa’s swim projects have taken place in watery spaces as diverse as the frozen Pirita River in Estonia, The President’s Fountain in Bulgaria, the Pacific Ocean, The River Liffey, Trafalgar Square, The Rideau Canal in Canada, The UCD Lake, the Dublin M50 Aqueduct to the Bogs of Ballycroy in Co Mayo.
Cavan folk-singer and witty story-teller Lisa O’Neill returns to Sirius Arts Centre with a new album, ‘Pothole in the Sky’. If you’ve seen her before you’ll know it’s a performance not to be missed.
This third album follows a witty and charming debut ‘Has An Album’, and the follow-up ‘Same Cloth or Not’ that marked her as a serious artist, a contender, a voice, a forked tongue. These are wonderful songs, unique and full of the sort of glorious individual word-play that could only come from the pen of O’Neill.
Lisa O’Neill has a remarkable voice; a Cavan twang, a growl, a song-call. It can be many things. She needed to make an album about that voice. ‘Pothole in the Sky’ is a recording of “the voice”. The voice is everything for the folk singer – a conduit for the words, the emotion, the thought process. This is no ordinary record.
O’Neill’s voice goes to all sorts of places throughout the course of this album, and the music provided by Emma Smith, Seamus Fogarty, Joseph Doyle, and Mossy Nolan follows her like a dark swirling storm, often bringing to mind the loose impressionism of the Dirty Three. On ‘Planets’ O’Neill delivers her most extraordinary vocal and lyrical performance to date. It is remarkable and on this form she could go toe to toe with Nick Cave at his most fire and brimstone. Except O’Neill’s prose is elemental and mysterious, not angry.
As any truly great singer knows, it’s not all about those big reaching numbers. There is some truly brave singing on this record. For instance, the odd high-pitched flourishes on ‘Nasty’, or the shrill parlour style singing on ‘Black Sheep’. The latter features some of the best accompaniment too, a mellifluous psychedelic montage that literally sets sail one-minute-thirty in as Lisa goes off on one of her patented hypnotic stream-of-conscious word-play trips. The album closes out on a succession of brilliant songs. ‘The Banjo Spell’ is a tender ode to the aural folk tradition without being throwback. In fact it has a big lush modern feel to it. And ‘The Hunt’, featuring guest fiddle and banjo from Colm Mac Con Iomaire and Glen Hansard respectively, is just another meandering epic Lisa O’Neill number, twisting and turning and changing its phrasing and tempo to suit the story and accommodate the words. She makes it sound easy. But it’s not.
At a time when sameness threatens to drain the world of charm and surprise, Lisa O’Neill stands tall for difference, as an outlier with a mission to frame the world as she sees it and to perform it accordingly.
Joe Breen, Irish Times
For over fifteen years Softday, the art-science collaboration of artist Sean Taylor and computer scientist Mikael Fernström, have engaged with issues relating to natural cycles in time, climate change and its global effects. As a collaborative team they use their arts practice to explore relations to and understandings of nature, expressed through sonifications and multimedia artworks and performances. Both artists are interested in exploring ‘the cracks’ between various media and creative genres such as expanded theatre, sound art, socially engaged practice, sculpture, music, dance and the application of new technologies.
Early projects such as Bliain Le Baisteach (A Year of Rainfall) (2000) looked at fluctuating annual rainfall patterns in Ireland. Further, Cóisir an Tsionainn (The Shannon Suite) (2003) focused on the four-year life cycle of the wild Atlantic salmon and the effects of overfishing and pollution on the species ability to survive. Projects such as Nobody leaves till the Daphnia sing (2009) examined the implications of contaminated domestic drinking water supplies in Galway and West Limerick. The Marbh Chrois (Dead Zone) (2010) project addressed the impact of two ‘contested’ marine dead zones as a key stressor on marine ecosystems in Donegal, Ireland. In 2011 Softday were prizewinners of EUROPE – A SOUND PANORAMA, and performed their work in Karlsruhe at ZKM (Kubus).
In April 2013 Softday premiered ‘Amhrán na mBeach’ (Song of the Bees) in Glenstal Abbey, Murroe, Co. Limerick. In October 2014 they were commissioned by Limerick National City of Culture 2014 to perform ‘Amhrán na mBeach’ - Song of the (Urban) Bees. Recent exhibitions include: 2016/7 Re(Public) Hyde Park Arts Centre, Chicago, USA, 2016. Sonic Arts Waterford (SAW) Festival, Waterford, 2016. EVA International Biennale of Art, Limerick, 2016 and Et si on s’ était trompé? (What if we got it wrong?) Centre Culturel Irlandais, Paris, France, 2015.
Ailbhe Nic Oireachtaigh
Ailbhe Nic Oireachtaigh is a viola player from Dublin. She enjoys playing many genres of music including baroque and folk-based styles but is primarily an improvising player.
The majority of her music is collaborative but recent months have seen a shift in focus towards solo work, primarily pairing the viola with tape delay. A recording of this music will be released in the coming months on the Fort Evil Fruit label.
Over the past year she has been involved in a range of performances and projects including international concerts with Chicago-based musician Circuit des Yeux, improvised solo playing at Bottlenote’s Bleed and composing and performing music for the production Very Rich Hours which won the Judge’s Choice Award at the Dublin Fringe Festival in September.
She also plays regularly with the bands Woven Skull and Cian Nugent & the Cosmos.
Mary Conlon is a curator based in Limerick, Ireland. She has completed studies at University College Dublin (1996-2001), Universidad de Sevilla (1999-2000), and Dún Laoghaire Institute of Art, Design and Technology (2002-2006). She is the third Shinnors Scholar and her PhD in Curatorial Studies at Limerick School of Art and Design focuses on Italo Calvino’s Harvard lectures. Her writings have been published in Irish Arts Review, COLLECTED, Paper Visual Art, and the Visual Artists’ News Sheet.
Conlon is the Founder and Co-Director of Ormston House, a cultural resource centre located in a RAPID* zone in the heart of Limerick city. She is on the board of directors of EVA International, Ireland’s Biennial of Contemporary Art, and is a Partner of Visual Artists Ireland, providing advocacy and advice to artists. She sits on the Migrant Exploitation Steering Group for thehuman rights organization, Doras Luimní. She is currently international Curator-in-residence at the Aarhus Billedkunstcenter in Denmark.
Recent curatorial projects include Murder Machine (2016), an evolving project co-curated with Christine Eyene as an invited response to Still (The) Barbarians curated by Koyo Kouoh; Against The Current (2015-2016), a solo exhibition by Mark Dion, co-curated with Ian Russell, curator of the David Winton Bell Gallery, Brown University; and PROTOTYPES (2014), a solo exhibition by Dennis McNulty during the inaugural National City of Culture programme at Limerick City Gallery of Art. Also in 2014, she managed the Limerick edition of the Irish tour of The Enclave by Richard Mosse, Ireland’s representation at the 55thVenice Biennale.
Petros Chrisostomou photographs small-scale, ordinary, ephemeral objects in architectural models that he constructs himself, and then dramatically arranges, often employing lighting and staging conventions of the theatre. With the alteration of scale and reversal of the relationbetween object and environment, between imaginary and real space, his photographschallenge the viewer's visual certainties.
The illusionary effect he achieves highlights theartist's playful approach, which fluctuates between mimicry of the real world and construction of a surreallistic reality.
In his photographs the exuberant assemblage of objects in luxurious interiors, create paradoxical still lifes that parody the traditional memento mori style of the genre. In his worksForever and Skatospore (II), the objects he creates out of Hair, Fungus, fabric and glasses are freed of their ordinary use and become dynamic protagonists. Similarly, the details of the rococo set consist of everyday objects, functioning as contemporary cultural signifiers.
Christosomou's photographs become the field for mixing the high- and the low-brow, mass culture and genre painting, the luxurious and the expendable, as indications of social class distinctions. At the same time, the relations between the real and the imaginary in his oeuvre are a commentary on the mediated images of contemporary mass media that distort the natural and immediate dimension of our relation to reality, determining, among other things, the conditions for viewing and receiving art.
His recent series of works are made with materials collected from stores located in Brooklyn, Afro American hair extensions, grooming products, and Dollar store items. Similarly the environments created to document these objects tell a story –through a lucid observation of Brooklyn’s subcultures- and link a thread throughout the Geographical and social connotations of these works. As a product of Globalization, born in London to Cypriot parents,
Petros Chrisostomou aims to explore the idea of indigenous habitat, by creating these boxes from which to work in, they become symbolic metaphors for a decentralized notion of where we find ourselves culturally grounded, and the spaces that we relate to as home.
Petros Chrisostomou was born in London, 1981. He was a resident on the International
Studio and Curatorial Program, New York. Recent selected exhibitions include FIGURED,
BRIC Rotunda Gallery, Brooklyn New York (2012), Plastic Lemons, Spring Projects, London
(2011), Revolver, Galerie Xippas, Montevideo (2010), Artists for Athens, The Breeder/Athens
Playroom, Athens (2010), Fresh Faced and Wild Eyed, The Photographers Gallery, London(2009), In Present Tense-Young Greek Artists, EMST National Museum of Contemporary Art, Athens (2008).
Matthew has a idiosyncratic place in the Irish music scene being the country’s only regular performer of the 23 stringed North Indian lute called sarode.
He has studied North Indian classical music for the last 15 years in Kolkata with Sougata Roy Chowdhury and UK based maestro, K. Sridhar. Since settling in Ireland in 2006, Noone has recorded and performed with various projects such as THE BAHH BAND & JIGGY and more recently begun to make a name for himself as a performer of Irish traditional music. He regularly performs with percussionist Tommy Hayes in an duet called AnTara and has toured India with Martin Hayes and Dennis Cahill.
After completing an Arts practice PhD in the Irish World Academy in the University of Limerick in 2016, Noone took time out to reflect and record some of his original compositions.
Drawing on his experience of lo-fi rock, post rock and electronica, Noone decided to record the album on an old four track cassette machine.
The resulting sound captures the mixture of his background and presents the sarode in a new and unique context. The album was mixed and mastered by Ensemble Eriu’s Jack Talty in Lissycasey.
Jessamyn Fiore (American b. 1980) is a New York based curator and writer as well the co-director of the Estate of Gordon Matta-Clark. She is the curator of the Jean-Paul Najar Foundation in Dubai, UAE, opening in March, 2015. She was the Director of Thisisnotashop, a not for profit gallery space in Dublin, from 2007-2010. She received a Masters in contemporary art theory, practice, and philosophy from The National College of Art and Design, Dublin, in 2009.
Exhibitions curated include 112 Greene Street: The Early Years (1970–1974) at David Zwirner in New York (2011), which led to her editing the critically acclaimed, eponymous catalogue, published by David Zwirner and Radius Books (2012); and a second exhibition for David Zwirner New York titled Gordon Matta-Clark: Above and Below (2013). Recently, she curated II Machines: Clive Murphy & Trevor Tweeton at the Knockdown Center in Mespeth, Queens (May 2015) and was a partner at Rawson Projects gallery on the Lower East Side (Sep 2014 - May 2015), organizing exhibitions by Nathaniel Mary Quinn and Lilja Birgisdottir among others.
Alex Yudzon is a New York based photographer working primarily in the genre of still life. Making elaborate environments that frequently reference art history, Yudzon’s work confronts our perception that the world has slipped into an advanced state of decadence and decline..
Yudzon’s ongoing series titled “The Book of Tasty and Healthy Food” recreates illustrations from a Soviet era cookbook belonging to his mother. By hand making items that are no longer commercially available, like cans of food, tablecloths and designer plates, Yudzon’s photographs look unreal and act to disrupt the linearity between past and present.
In another series, “The Raft of the Medusa”, Yudzon borrows the language of 17th century Vanitas still life painting to create unnerving scenes of sumptuous decay. Using profuse quantities of food in suggestive combinations, Yudzon creates a world both beautiful and revolting. Hand painted scenes or reproductions of famous paintings are used as backdrops to further emphasize the contrast between the idealized depictions in the backgrounds and the entropic arrangements in front of them. Together, these contradictory juxtapositions lend Yudzon’s work a dark, abject humor which both agitates and moderates our anxiety of collapse through overabundance.
Alex Yudzon was originally born in Moscow and moved to the United States at the age of 8. After receiving his BFA in painting from Chelsea College of Art in London, Yudzon moved to New York and began his career as an artist. Since then Yudzon has participated in numerous exhibitions both inside the United States and abroad including at; The Museum of Contemporary Art Miami, The Aluna Foundation of Art, Ein Harod Museum of Contemporary Art in Israel and the Kolkata International Performance Art Festival. Although he has worked with photography throughout his career, in 2015 Yudzon decided to make a permanent switch and work exclusively in that medium. Since then his series “A Room for the Night” has traveled to 3 exhibition venues in Italy and France.
Sheelagh Broderick (Ire)
Sheelagh Broderick is an artist and researcher. She develops her practice through processes of immersive social engagement. She is interested in the generative potential released when people come together in different configurations. Increasingly she is preoccupied by the idea of the anthropocene (the geological age of humans, named for their planetary impacts) and what it means for politics and art.
Amy Perejuan-Capone lives and works between Perth, Western Australia, and Reykjavik, Iceland (or elsewhere very very north). She graduated with a BA(Fine Art) from Curtin University in 2009 and an Advanced Diploma of Industrial Design from Central Institute of Technology (Perth) in 2014. She creates work under her label Horse On Toast as well as under her own name. The label is about gleeful absurdity and serves as a conceptual guide for Amy’s creative investigations. She draws in detail very normal inorganic objects (such as trucks and budget supermarkets) as an attempt to capture and represent their innate subjectivity. Amy’s limited edition or one-off furniture pieces, ceramics and drawing/paintings exist on a spectrum that spans ideas made manifest (as sculpture) through to traditional object representation (with plenty in between).
Peter Broderick (1987, USA)
Although he has primarily made a name for himself in the music world, multi-instrumentalist and composer Peter Broderick is interested in exploring a multi-disciplinary approach to his art practice.
Peter’s passport looks like something of an art piece itself, thick with added pages after having run out of free space for stamps several times. Since 2007 he has traveled the world relentlessly, performing both as a solo act and as a member of various groups, including the renowned Danish band Efterklang.
Several celebrated record labels have invited Peter to release his recorded works, such as Erased Tapes and Bella Union, among others. With each recording he has aimed to reinvent himself, resulting in a diverse catalogue that might very well cause a listener to wonder if two different albums are in fact made by the same Peter Broderick.
Many of Peter’s records are decorated with his own photographs and artwork, and he has also experimented with moving pictures, directing several short films and music videos. One of his favourite ways to be creative is in the kitchen, cooking up edible works of art. The fact that the work vanishes while being consumed goes to demonstrate Peter’s focus on the process of creating, as opposed to only being fixated on the result!
Growing up in the tiny town of Carlton, Oregon, Peter started with private violin lessons at age seven, studying both classical music and folk tunes, many of which originated in Ireland. With this recollection of childhood melodies and his own Irish blood, Peter aims to explore his roots through an on-going residency at the Sirius Arts Centre throughout 2016.
Helen Frosi’s interests revolve around call and response, improvised activity and ludic principles. Preoccupied with the idea and act of exchange - skills, experiences, objects, memories - her practice is cross-disciplinary and necessitates collaboration.
As a conceptual focus for her creative practice Helen established SoundFjord (the UK’s first project space entirely dedicated to sound) in 2010. It began life as a gallery and venue for curious minds to meet and collaborate. By 2015, SoundFjord had metamorphosised into an extended network, educational and curatorial platform, working in purposefully tangential ways, through ideological cross-pollination and experimental collaboration with like-minded creatives, specialists and organisations.
Recent collaborations include co-founding the London-based Tape Orchestra; co-curating curatorial interventions with Kostis Kylimis as Either Ear; hosting DIY audio-visual events with Leslie Deere as Shorts For All Seasons; co-curating the Full of Noises Festival (Cumbria) as Octopus Collectives’ first curator-in-residence and co-curating Summer Club // Sound with Andie Brown (These Feathers Have Plumes) for V22 (London). Under the moniker Postcards from the Volcano, Helen constructs transmission art pieces and immersive sonic environments with Stephan Barrett. And as SoundHoppers, Helen collaborates with Wajid Yaseen to create sound and listening playgroups for 5 to 11-year-olds.
Helen is currently an honorary research fellow at Goldsmiths, University of London (Unit for Sound Practice Research).
Ruth Clinton and Niamh Moriarty (IRE)
Ruth Clinton and Niamh Moriarty have been working together since graduating from Fine Art at NCAD in 2010. Recent exhibitions of their work include: Amharc Fhine Gall X - Transhistorial Terrain, joint exhibition with Ella DeBurca, Draíocht, curated by Linda Shevlin, 2015; Foaming at the Mouth 6, visual art spoken word event, Amsterdam, curated by Tracy Hanna & Emer Lynch, 2015; Amid the Deepening Shades, self-initiated group exhibition at the Deer Park Hotel, Howth, 2014, and Wound with a Tear, offsite solo exhibition at Trinity College Dublin in association with The Douglas Hyde Gallery, curated by Michael Hill, 2014.
Clinton and Moriarty use performance, video, sound installation and storytelling, along with a detailed research process to convey visions of transience and resistance. Through mimetic acts of communication and repetition, of resurrection and preservation, they interrogate humanity’s struggle against overwhelming natural forces and ask how we can look beyond our limited perception of endurance. They are currently building a body of work to be exhibited after a year-long residency at Sirius Arts Centre.
The opening reception for this exhibition will take place on the first of October, to mark 100 years of Daylight Saving Time in Ireland. Daylight savings was introduced here in 1916, either (according to different accounts) because of World War One and the need for improved fuel efficiency, or to better facilitate telegraph communication and shipping coordination. Before the introduction of the Time (Ireland) Act, 1916, Ireland used to operate on Dublin Mean Time, which is actually 25'21" behind GMT. This lapse is understood by the artists to be comprised of endless missed opportunities relative to the disjointed unfolding of the 1916 rebellion. With this in mind, the exhibition at the Old Yacht Club will be structured as a five-part tragedy that is preoccupied with the lost 25 minutes and 21 seconds of Irish time. The time change is an example of a contested moment in history, much like 1916 itself, and this exhibition intends to explore the multiple layers and consequences of the events as they have been remembered and interpreted in the 100 years since the Easter Rising.
Recently they were awarded the Arts Council 16 x 16: Next Generation bursary. The 16 x 16: Next Generation bursaries are awarded to innovative young artists, in a special initiative of the Arts Council and the Ireland 2016 Centenary Programme, in recognition of the role of artists in the events of 1916.
Áine Phillips (IRE) | July 2016
Áine Phillips is one of Ireland's established performance artists and the editor of 'Performance Art in Ireland: A History', which has just been published by the Live Art Development Agency and Intellect Books UK. She has presented multi-media performance works internationally since the late 80's and has created work for diverse contexts; public art commissions, the street, club events and gallery/museum exhibitions. Her work has been shown across five continents, in places such as Tokyo, Ljubljana, New York, Uganda, Brisbane and the Tate Britain. She has worked extensively as a curator of performance events in Ireland and the UK. Phillips is the Head of Sculpture at Burren College of Art (NUI Galway) and holds a doctorate in performance art from NCAD.
“Performance Art in Ireland: A History” 2016 United States Speaking Tour Boston, New York, Washington D.C., Chicago, San Francisco, PortlandSupported by Culture Ireland as part of the Ireland 2016 Centenary Programme.
Performance Art in Ireland: A History, available now on Unboundat The Live Art Development Agency's website
Robin Parmar (CAN/IRE) | May 2016
Robin Parmar combines deep research with intermodal praxis in composition, improvisation, radiophonics, poetry, and image-making. His formal training is in theoretical physics, audio engineering, and electroacoustic composition. He has edited books of creative writing, curated a concert music series, and co-authored one of the first studies of hypertext. Currently he teaches "Acoustics, Psychoacoustics, and Modalities of Listening" at the University of Limerick.
Robin's work explores generative conceptions of place, ideologies of field recording, and the poetics of spatial relationships. These subjects form the basis for doctorate research at De Montfort University, Leicester. Sound works have appeared in Ireland, England, Portugal, Spain, Germany, Sweden, Slovenia, Canada, and the USA.
His collaborators have included The Quiet Club, Anthony Kelly, David Stalling, Ed Devane, and Harry Moore. Recent albums include "...between..." (Gruenrekorder, 2014), a collaboration with David Colohan of United Bible Studies, and "The Drones" (Stolen Mirror, 2013). He has recently presented on the screendance of Angela Conway, the "space" of Joy Division, "Digital Angst and the Phenomenology of Discontinuity", and "Hearing as Science-Fiction".
Robin also runs the label Stolen Mirror, which is currently releasing electroacoustic noise music from Irish artists Steve McCourt and Fergus Kelly.
Elizabeth Woods and Kevin Leong (Autralia) | April/May 2016
Elizabeth Woods and Kevin Leong are Australian artists whose work sits firmly between community and contemporary visual art: they create projects that develop a rich and sympathetic relationship to the public and host communities whilst producing outcomes that aim to be imaginative, innovative, challenging and critical. Typically, their projects draw on developing creative collaborations between institutions, arts organisations, community groups, individuals, members of the public and interdisciplinary groups of creative professionals.
Since 2012, Woods and Leong have been working on The Homesickness Project, an umbrella project that uses an expanded definition of homesickness to study a time when it is increasingly difficult to be "at home" in the world. In an environment of growing conflict, elitism, scrutiny, fear and displacement, and as pre-industrial global inequality resurfaces with democracy in crisis around a weathered sense of the commons, the project argues that the world is becoming increasingly less of a "home" and that, as a race, we are becoming progressively more "homesick".
The first chapter of the the project was a search for shared visions of home in Logan City, Queensland - a region of extraordinary socio-economically and culturally diversity - while the second chapter, titled Proof of Life, is currently under development with the Salamanca Arts Centre in Hobart, Tasmania. During their residency, Woods and Leong will be investigating the development of an Irish chapter with the Sirius Arts Centre.
Feb & April - Cliona Harmey (IRE)
Cliona Harmey will take part in an ongoing residency at Sirius in 2016 producing a series of new exploratory works. She will explore the link between maritime space and more mainstream communications such as computing and telecommunications. While resident at Sirius she will build on previous work and connect with local organisations that work in this field. Her work is often inspired by contemporary and obsolete technologies, technical histories, contemporary sculpture and DIY electronics. She is also interested in different ways of making elements of ephemeral/ live information/data more concrete or tangible through sculpture, software, film, photography and electronics.
Cliona Harmey has been active as an artist since the mid ‘90s. She graduated from the Sculpture Department at NCAD but now works across a variety of media. In 2015 she completed a major temporary commission for Dublin City Council called “Dublin Ships” which used AIS (a marine tracking technology) to output the names of the most recently arrived and departed ships to large public screens. The changing juxtaposition of the ship names formed a type of generative writing/poetry. She will have a solo exhibition at the Butler Gallery in Kilkenny in June 2016 where she will show some of the work created during residency times at Sirius. She previous showed work at Sirius in 2014 at an exhibition called “We All Live on the Same Sea”. Other recent exhibitions include “The Phoenix Rising” at the Hugh Lane Gallery Dublin, Lacuna at Taylor Gallery and “The Future is Self Organised” in Limerick City Gallery.
You can see details of Dublin ships work here: www.dublinships.ie
You can see some of her recent sculptural work here: www.pallasprojects.org
March - Leah Beeferman (US)
Leah Beeferman is a New York City-based artist working with digital drawing, video, and sound. She received a BA from Brown University and an MFA from Virginia Commonwealth University, and has participated in residencies including LMCC Workspace (NYC), The Arctic Circle (Svalbard), SIM (Reykjavik), Experimental Sound Studio (Chicago), Kökarkultur (Finland) and Diapason (NYC). Recently, she has shown work at Rawson Projects, NY; Klaus von Nichtssagend, NY; Essex Flowers, NY; Fridman Gallery, NY; Ditch Projects, OR; and Interstate Projects, Brooklyn. She also co-runs Parallelograms, an ongoing online artist project.
'I make abstract digital drawings, videos, laser etchings, and sound pieces: distinct processes linked by interconnected forms and ideas. These works contribute to a larger, ongoing study of digital drawing which seeks to generate spaces of flatness and infinite depth — by merging a very “real” space from my own observation and experience with the nonvisual, imaginary, and intangible space of theoretical physics.'
February - Sarah Lincoln (IRE)
Using photography, video and time-based presentations Sarah Lincoln's work seeks out inconspicuous, yet disquieting realities made evident in the landscape.
Her work responds to particular ways in which the natural world has been categorized and managed, her work-processes often usurp mundane forms and gestures.
More recently Sarah has used video as a way to explore local geographies; employing techniques associated with collage to suggest alternative histories – both local and geologic – to dig beneath our surface landscape in an attempt to present a more complex understanding of a locale. Sarah graduated from NCAD in 2004, holds an MA in Visual Arts Practice from IADT and writes for Enclave Review and Critique.
She has worked collaboratively in developing a video project, Faint Echo (2014) and through a screen-based project called RAFT (2013- 2014), which responds to the various uses being made of a patch of Irish ocean.
Sarah's work has been included in Claremorris Open, EVA and as part of numerous group exhibitions, most recently 'The Pattern Exchange' in Temple Bar Gallery, Dublin (curated by Rosie Lynch and Hollie Kearns).
November 2015 - Øyvind Hjelmen,
Øyvind Hjelmen lives and works on the island of Stord, off the west-coast of Norway. Apart from having attended various photographic workshops he is autodidact as an artist. He holds a BA in modern art and aesthetics from the University of Bergen. Øyvind Hjelmen has been working with photography as his artistic expression for more than 20 years, and his works have been exhibited in USA, Germany, Russia, United Kingdom, Poland, Italy, Greece, Lithuania, Japan, France, Spain, The Netherlands, Georgia and Norway. Among the collections that hold his works are The Museum of Fine Art in Houston, USA, and Centro Internazionale di Fotografia Scavi Scaligeri - Verona, Italy.
He specializes in hand-printed black and white images, hand-bound artists books and portfolios, and larger format unique photograms. His black and white photographs are all gelatine silver prints, film based, and are all handmade by the artist. Color work is giclee fine art prints, also originally film based. Equipment includes everything from old cameras and a Holga, to the more modern Rolleiflex and Hasselblad. He has been teaching photography for more than 10 years, teaching workshops at all levels. He has also been guest lecturer at the American Intercontinental University in London, and at Bilder Nordic School of Photography in Oslo.
He is currently also Artistic Project Manager and curator for the Artist-in-Residence program at Halsnoy Monastery, Sunnhordland Museum, Norway.
October 2015, Jed Speare.
Jed Speare is an interdisciplinary artist who has presented time-based arts internationally for over thirty years. In 2008, The Wire magazine called him “a pioneer of multimedia presentation,” for his use of field recordings in performance and collaborations. His work encompasses sound art and composition, recordings, video, performance, public projects, sonic research, electronic imaging, and writing. In Boston, he’s had a long association with two alternative arts organizations, Mobius and Studio Soto, and has been Director of them for a combined twenty years.
September 2015- Dr. EL Putnam
Dr. EL (Emily Lauren) Putnam is a visual artist, scholar, and writer working predominately in performance art, video, sound, and interactive media. Her work draws from multiple themes and sources, including explorations of gender and sexuality, play, materialism, and the study of place, which she investigates through personal and cultural lenses. Her writing and research focuses on continental aesthetic philosophy, performance studies, digital studies, feminist theory, and examing the influence of neoliberalism on artistic production.
EL has actively been presenting artworks and performances in the United States and Europe for the past decade, and has been a member of the Mobius Artists Group since 2009. She is currently part-time faculty at the Dublin Institute of Technology and Maynooth University.
July 2015 - Elizabeth Duffy
Elizabeth Duffy is a multidisciplinary artist whose work engages practices of process-based drawing, installation, sculpture and photo. Her work is influenced by feminist art, an itinerant way of life, and the confluence of art with everyday life. Elizabeth’s photographic and research based object and installation work investigates perceived ideas about security, domestic comfort and its attendant risks. Using the patterns from the inside of security envelopes she subverts the original intention of these designs to keep information secure by turning them inside out.
Duffy has exhibited work at the Drawing Center, the Aldrich Museum of Contemporary Art, White Columns, Dartmouth College's Strauss Gallery, Pentimenti Gallery and Dam Stuhltrager Gallery. In 2013, she was awarded a National Endowment for the Humanities grant at the Bard Graduate Center to research American Material Culture in 19th Century New York. She has held residencies at the Bogliasco Foundation/Liguria Center for the Arts and Humanities in Bogliasco, Italy (2012), the Lower Manhattan Cultural Council on Governors Island (2012), the Corporation of Yaddo, where she was awarded the Louise Bourgeois Residency (2010, 2000), the MacDowell Colony (2005, 2004. 2003, 2002). Duffy’s work is in the collections of Deutsche Bank, Fidelity Investments, the Heard Museum and Dartmouth College Rauner Special Collections Library.
May/June 2015 - Leah Garnett
Leah Garnett is a visual artist based in New Brunswick, whose practice involves drawing, sculpture and installation. Having worked at the Fire Station Artists Studios in Dublin in 2014, Garnett has been developing a series of drawings based on construction job sites, looking at how we perceive, shape, and represent space. This work continues Garnett’s ongoing interest in the relationships between architecture, landscape, and cosmology. By addressing these different scales of space, Garnett questions the boundary between the tangible and the abstract, representing spaces beyond physical comprehension, such as magnetic fields, outer space, and the ocean.
Originally from the coast of Maine, Leah Garnett is a Canadian American who lives and works in Sackville, New Brunswick. She has exhibited in Canada, the US, and Germany, and attended residencies at the Fire Station Artists' Studios, the MacDowell Colony, the Banff Centre for the Arts, and Struts Gallery. She received her BFA in Fine Arts from the Nova Scotia College of Art and Design and her MFA from the University of Guelph 2004. She currently teaches drawing and sculpture at Mount Allison University.
April 2015 - Sun Ju Lee
Sun Ju Lee, Korean artist based in London, describes her work as ‘looking at the significance of place, the way we interpret constructed space as living with a stranger’s perspective’. Her work involves walking and photographing spaces, reconstructing those spaces, with particular attention to the relationships between people and space, which she calls movement stories. Using printmaking, drawing and digital printing Lee offers the viewer alternative relationships to space.
Lee graduated from the Royal College of Art in 2010 with an MA in Fine Art Printmaking and has exhibited her work widely in London and Korea, showing for example at GalleryDOS, Seoul and Lightbox Gallery in London. Lee received the Tim and Belinda Mara Award, the Nancy Balforur Award and a Mathews Wrightson Trust Award in 2009 & 2010.
March - Rosa Arruti
Rosa Arruti has worked for many years under the alias NAD SPIRO, a solo venture where complex processed guitars are built into a world of electronic textures. Nad Spiro’s recordings have been released on the pioneer Spanish electronic label GEOMETRIK RECORDS. Work has also been included in international compilations like the monographic The Laptop and Electronic Music (Contemporary Music Review +cd, Edimburgh 2003) or SUDAMERICA ELECTRONICA II (cd+dvd, Buenos Aires 2008).
Rosa Arruti aka NAD SIRO’s sound investigations cover a wide ranging musical spectrum, from early activity in some of Barcelona’s cult avant-garde bands to collaborations with other musicians (like Kim Cascone and My Cat is an Alien), experimental theatre groups and video artists.
- Angelica Hoger (Germany)
- Kelby (USA)
- Mandy Barker (UK)
- Martha Burgess (USA)
- WE ALL LIVE ON THE SAME SEA curated by Rana Ozturk
- Mark Garry, Paid Murphy & Sean Carpio, David Farrell, Margaret Fitzgibbon, Cliona Harmey, Deniz Uster, Gülsün Karamustafa, Fiona Marron, Tayfun Serttaş (Turkey & Ireland)
- Kane Do (Korea/Berlin, Germany)
- False Optimism / in partnership with Crawford Art Gallery, Cork
- Declan Clark, Una Quigly and Aids-3D (Daniel Keller & Nick Kosmas)
- Little pieces of no value / in partnership with allerArt, Buldenz Austria, Alfred Graf, Edith Hofer, Johannes Ludescher, Alois Galehr & Monika Boldrin (Austria)
- Cruel and Unusual / in partnership with Noorderlicht, Netherlands
- Curators Hester Keijser (Hague, Netherlands) & Pete Brook (UK/USA)
- Laurent Millet (France)
- Jan Caspers (Berlin, Germany) Gary Rosborough (Derry, N. Ireland)
- Peter McGlinchy (Australia)
- Colin Gee (USA)
- Michael Grieve (London, UK)
- BCXSY (http://www.bcxsy.com/) cooperative designers Boaz Cohen (Israeli/Dutch) and Sayaka Yamamoto (Japan/Netherlands)
- Florian Wüst (Berlin, Germany)
- Kane Do (Berlin, Germany)
- Sputnik Photos, the International Assosiation of Photojournalists (Warsaw, Poland) Adam Pańczuk, Jan Brykczyński, Agnieszka Rayss, Rafał Milach, Michał Łuczak
- Stephen Vitiello (USA)
- Conall Cary (Scotland) in collaboration with Cork Printmakers
- Deirdre Nielson (Scotland)
- Travis Sommerville (USA)
- Doug Dubois (USA)
- Alan Giddy (Australia)
- Tatiana Kellner (USA)
- Lucy Powell (UK/Berlin)
- Kane Do (USA/Berlin)
- Deirdre Nelson (Scotland)
- Maleonn Ma (China)
- Doug Dubois (USA)
- Carla Bertola & Alberto Vitacchio (Italy)
- Carolyn Shadid Lewis (USA)
- Karen Brummend (USA)
- Marco Vernaschi (Italy)
- Charlie Jouvet (France/Berlin, Germany)
- David “Ike” Eisenlord (USA)
- Krzysztof Miekus (Poland)
- Alfred Graf (Austria)
- Doug Dubois (USA)
- Ellen Driscoll (USA)
- Hartmut Stockter (Copenhagen, Denmark)
- Alieen Lambert (Ireland)
- David Bickley (Ireland)
- Daniel Heer (Switzerland)
- Charlotte Hug (Switzerland)
- Gilles Perrin (France)
- Sian Bonnell (UK)
- Evi Karagiannidis (Greece)
- Textile Artists from Młodzieżowy Dom Kultury (Poland)
- Zorka Project (Poland) in association with Krakow Month Of Photography
- Gilles Perrin (France)
- Harri Palviranta (Finland)
- Michelle Sank (UK)
- Malcolm McClay (Ireland/USA)
- Han Sunpil (Korea)
- Martin Sims (Australia)
- Paul Geofferje (Netherlands)
- Cork Harbour Project (Mixed Artists)
- Viv Corringham (UK)
- Simona Barbera (Italy)
- Reiner Reidler (Austria)
- Meridel Rubenstein (USA)
- Deborah Dallman (UK)
- Paul Geofferje (Netherlands)
- David Jacques (UK)
- Daniel Heer (Swiss)
- Klavdij Sluban (French)
- Elpida Hadzi-Vasileva (UK/Macedonia)
- Ann Shostrum (USA)
- Ellen Harvey (USA)
- Olwen Fouere, Alice Maher, Trevor Knight (Ireland) in partnership with Cork 2005 & the National Sculpture Factory, Cork
- Mara Adamitz Scrupe (USA) in partnership with the Crawford Art Gallery
- Hendrike Kuehne (Germany) and Beat Klein (Switzerland) as part of a Project Grant funded by the Arts Council
- Robert and Shana ParkeHarrison (USA) in Partnership with The Gallery of Photography, Dublin
- Julie Bacon (N. Ireland)
- Christian Maychack (USA)
- Julie Bacon (N. Ireland)
- Jaakko Niemela (Finland) in association with the Crawford Municipal Gallery
- Hendrikeje Kuehne and Beat Klein (Switzerland)
- Patrick Jolley (Ireland)
- Antonio Scarponi (Italy) in association with Cork Art Trail 2004
- Elizabeth Barbush (USA)
- Thea Gvetadze (Germany)
- Dieter Buchhart (Vienna/Austria)
- Kim Jones (USA)
- Hisao Suzuki (Japan)
- Nellie Strowbridge (USA)
- Mark Clare (Ireland)
- Mark Clare (Ireland)
- Hugh Davies (England) in association with Triskel Arts Centre, Cork
- Patrick Michael Fitzgerald (Spain)
- Ola Gustafasson (Sweeden)
- Greg Hannon (USA)
- Lee Hassall (England)
- Katie Holten (Ireland), Johanna Domke (Denmark), Friedrike Rueckert (Germany) in association with Germinations 13 and the Crawford Art Gallery, Cork
- Camilla Low (Scotland)
- Clare Keegan (Ireland)
- Maia Naveriani (Georgia/England)
- David O'Brien (Ireland)
- Valeska Peschke (Germany)
- Andre Stitt (England)
- Soos Tamas (Hungary)
- Lois Weinberger (Belgium) in association with Douglas Hyde Gallery Dublin
- Peggy Sue Amison (USA)
- Shane Cullen (Ireland) in association with the National Sculpture Factory, Cork
- Eileen Healy (Ireland)
- Igor & Svetlana Kopystiasky (Germany/USA)
- Willie Mckeown (Ireland)
- Julie Murray (USA)
- Gerry Murphy (Ireland)
- Maia Naveriani (Georgia/England)
- Francois Rio - (France) in association with the Cork County Council
- Gail Richie (Ireland)
- Maura Sheehan (USA)
- Kevin Todd (Australia)
- Gabriela Weeks (South America)
- William Anastasi (USA)
- Dove Bradshaw (USA)
- Tom Drake Bennett (Germany)
- Jools Gilson-Ellis (Austria/Japan) in association with Cork County Council
- Danny McCarthy (Ireland) in association with the National Sculpture Factory, Cork
- Elenor Mitch (USA)
- Denis O'Connor (England)
- Helen O Leary & Katie Holton (USA/Ireland)
- Pepeniere in association with the National Sculpture Factory, Cork
- Ben Reilly (Ireland)
- Yuko Shiraishi (London)
- John Adams (Ireland)
- Dorothy Cross (Ireland)
- Janet Mullarney (Ireland)
- Barbara Hunt (USA)
- Elizabeth Magill (England)
- Kim Jones (USA)
- Helen O Leary (USA)
- Patrick Moloney (UK)
- Byron Kim (USA)
- Lynne Yamamoto
- John Cronin (USA)
- Catherine Owens (USA)
- Jim Sanborn (USA)
- Maura Sheehan (USA)
- Richard Gorman (Italy)
- Leone & Macdonald (USA)
- Michael Rouillard (USA)
- Patrick Ireland (Ireland/USA)
- Lynda Cronin (USA)
- Robert Janz (N. Ireland)
- James Turrell (USA)