190a Rathmines Rd Lower, Rathmines, Dublin 6
The eight studios in MART’s Fire Station Gallery & Studios are bespoke visual art Studios based in the landmark Old Fire Station on the Rathmines Road. With large bright windows, high ceilings, exposed brickwork and creative patchwork from years of renovations it really is an inspiring place to work.
Located close to a range of cafes (Farmer Brown’s, 250 Square, Grove Road Cafe, Pot Bellied Pig, Starbucks), bars (Blackbird, The Bowery, Slattery’s, Mother Reilly’s), restaurants (Manifesto, Hey Donna, Umi), banks (Bank of Ireland, Permanent TSB, AIB), shops (Artmines art supplies, Fallon & Byrne) and amenities (library, gym, swimming pool). A few minutes walk from the Grand Canal & Portobello Harbour, a beautifully scenic stretch of the city that becomes a buzzing social hub in summer months.
From the exterior, the large red doors are an eye-catching reminder of the history of the building and open to reveal the MART’s main gallery. Above this, located in the former Georgian home, are the MART’s very first studios. Featuring exposed brickwork, wooden floors, and the cosy, lived-in feel of a building with a long history, these studios are home to a range of visual artists, designers and photographers.
The Fire Station is situated on bus routes 14, 15, 65, 83, 140, 142. Five minutes from Charlemont Luas stop. Twenty minutes walk from Dublin City Centre.
Our Studio Members
Shane Berkery | Patricia O’Malley | Ciara King | Sinead Hollywoodnutt | Elise Missal | Guida Riba Rovira | Seamus Bradley | Priscilla Robinson | Rudi Wolf | Jane Frew | David Coonan | Milena Matejko | Kathy Herbert
In my paintings I primarily deal with the human figure. I currently have two distinct sources of imagery, one being old family photos from my Japanese side and the other, photos that I have taken myself. Despite the huge generational and geographical gap between the subjects, I am overcome by the sense of congruity in the human experience between the two. I draw on this and seek to create figures that are truly palpable and universally evoke a sense of ‘realness’.
I like to consider my work in terms of the totality of my oeuvre (including future paintings), rather than isolated complete pieces. I take this approach because I am determined to become utterly fluent in visual language and consider it my mission in painting to reach that point. Each piece is a study into the visual mechanisms that allows for that ‘realness’ to be translated into a two-dimensional image; the relationship between the various languages of paint (representation, abstraction, colour, composition and degree of completion) are carefully scrutinised and studied. From the purely representational figures in my photographic source material, I hope to extract the sensation of presence and distill that into viscerally ‘real’ beings on canvas.
I make interactive, off-site work like “The Robinsons’ Sunday Roadshow Café” and the “help me! help me!” charity shop where I swapped 600+ my things for help. And I make shows like “KuddelMuddel”, which I performed in my flat, and “The Show about The Show” which starred my mother.
Seamus Bradley works in a variety of media, currently focusing performing arts of storytelling, spoken word and music. Having exhibited installation and live art extensively in the past, his main project at the moment is the facilitation of performing artists through his involvement in the Circle Sessions non-profit.
mosaic artist I am a from Hamburg, Germany. I work with mixed materials, mainly upcycled ceramics and glass, but also assorted metals and stone. I have a strong interest in the broken, the discarded and unwanted, and take joy in collecting and assembling these materials into a new form. While I have mainly worked on usable items (mirrors, tables, bowls and plates), current exploration is leading me toward 3D mosaic, sculptures and installations.
As a composer I’ve written music for a wide variety of situations, including orchestral music, chamber ensembles, choral and vocal, and music for theatre and dance. In recent years I’ve worked with the BBC Symphony Orchestra, London Symphony Orchestra, RTE Symphony Orchestra, RTE Contempo Quartet, and for the Abbey Theatre.
Healing people’s hearts with creative expression
Milena Matejko is a freelance digital illustrator and painter with a background in fine art media. She works in digital drawing, currently specifying in portraiture and branding. Milena also creates abstract paintings inspired by nature, exploring themes of light, darkness and hope. In the past she has worked in interactive, multi-media installation such as The Public Diary.
My studio is a place where I read and draw and generally plan my art activities. I design my projects loosely, and then they develop through the doing of the work itself. The work is often made out of doors, and then finished in the studio. Sculpture works are generally made in a sculpture facility such as Leitrim Sculpture Centre.
Mapping and documenting is a technique I use regularly and I have made a number of works this way such as the piece “Shifting Sands”. This approach is an essential methodology in my practice; one where I walk a certain distance over a number of days, noting what I see and where it is. Another such work is “Blanchardstown Walking” It is a study in observation. I call this work “Walking Books”.
Drawing and sculpture form the main of my work. The drawings are often large as in “Giant Drawing” (1.5m x 10m). My sculptures can be anything from stonecarving as in “All We’ve Got”, to ephemeral works involving other people, for example “Leaf Kites”. See website for images.
I work as a freelance graphic designer and illustrator, I received a B.F.A from R.I.S.D and have worked for a variety of companies including RocaWare, EPIC Ireland, Vikings Television Show, Image Now, The Project arts centre and the R.S.C.I. I work in digital and traditional media, preferably mixing them together.
I love and hate pop culture.
Some time ago I formed a habit of collecting or gleaning from nature. I call this collection ‘Withered Beauty’. I became interested in decay, in its many forms, e.g. a deconstructed leaf can take on the appearance of torn lace. Reflective of nature’s rhythm some images I create are clearly defined while others are less predictable and show an unlikely pattern, a blur, a smudged memory. My approach to painting is swift and intuitive assisted by painting on several canvases at once. This way of working powers my impulse to use confident brushstrokes and build layers of colour rendered to form a more daring alliance.
Echo Chamber – EUCIDA 2017 Exhibition
Lūznava Manor Rēzeknes | Latvia: 9th June – 31st August 2017
RUA RED | Ireland: 16th June – 5th August 2017
Gantner Multimedia Space | France: 24th June – 22nd July 2017
European Connections in Digital Arts / EUCIDA is a 3 year project funded by Creative Europe led by RUA RED Ireland in partnership Gantner Multimedia Space, France and Lūznava Manor Rēzeknes, Latvia. The Project aspires to work collaboratively while demonstrating innovation and high standards contributing to making the Digital Arts sector highly visible internationally.
“an echo chamber is a metaphorical description of a situation in which information, ideas, or beliefs are amplified or reinforced by transmission and repetition inside an “enclosed” system, where different or competing views are censored, disallowed, or otherwise underrepresented.”[link]
As a curatorial platform for creation of new work, Echo Chamber has encouraged the dialogue of art and technology as a means of sharing experience and creative practice. Exhibiting simultaneously across Ireland, Latvia and France it showcases six contemporary visual artists, two from each of the host countries, whose practice is rooted in various aspects of digital technology.
Its primary aim to create an accessible conversation and debate between the digital arts, technology, politics, culture and society in an accessible way to a European wide public. The three parallel exhibitions, which mirror each other, will analyse how culture, politics and socio-economical issues are bounced around, applauded, and never truly open within one’s own Echo Chamber; i.e colleagues, friends, families etc.
The exhibitions provide a platform for the artists to push conversation beyond the normal realms of an art audience or local groups, to a further international and trans European audience. By encouraging participating artists to explore and reinvent material, technologies and methodologies, Matthew Nevin, the curator, has worked alongside the artists to re/produce work that can provoke the limitations of the ‘Echo Chamber of the normal gallery environment, into producing powerful, informative and experimental new work to a wider audience.
These artists, often working as the mirror for society, will create new dialogues that challenge conventional views on politics and culture; pushing for examination of our preconceived expectations of what is contemporary art and its relevance to the society we live in. The curator has encouraged the artists to be reactionary and politically engaged in their approach to their practice and tease out new radical ways of viewing and perceiving their art works through technology.
Helen Mac Mahon, who creates artwork through experimentation and investigation into the phenomena of light, movement, perception and space, has produced ‘Mirror Affect’ an interactive piece playing with the mirrored image using a combination of everyday objects and live digital technology.
Jeanne Briand forges links with new technology and craftsmanship to create beautiful sculptural pieces that reference fantasy and trans-aesthetics. Briand’s ‘Gamete Glass’ propose a new form of life, and the origin of the sounds they emit serves to raise questions in the viewer’s mind about the artifice or real existence of the animated forms.
Fabien Leaustic creates sculptural work which while physical has an ephemeral aesthetic. Leaustic’s work ‘Hello World’ activated by the presence of the visitor disturbs our interpretation of our world, evoking an emotional response juggling a naive optimism and a dark poetic duality that defines us.
Rasa Smite is an artist, network researcher and cultural innovator, working with science and emerging media technologies. Smite’s artwork ‘Talk to Me’ is a human-plant communication interface, through which people were asked to send encouraging messages via text & social media to the growing plants, “equipped” with web-cam, wi-fi and loudspeakers.
Adam Gibney’s artwork is generally realised through sculpture, installation, sound and video. ‘Conundrum 8: I am somewhere between we and they’ questions the political and personal use of pronouns. Playing a key role in the construction of the ‘self’ and the ‘other’, pronouns help toward the creation and division of societies.
Paula Vitola works through media art & archeology, researching relationships between human and technology. Her work encompasses experimenting with technology and nature, programming and gadget-hacking.