Exhibition opening 7 March 2019
Exhibition continues 8 March – 25 April 2019
MART Gallery, 190a Rathmines Road Lower, Dublin 6.
Curated by Deirdre Morrissey.
slow motion is a presentation of new works by Jane Fogarty. The works are an exploration of time, form, colour and composition.
What you see is what you get.
Within her work, Fogarty establishes limitations from which self-dictated narratives emerge. Through these boundaries, elements of chance and endurance enter into the work. Each work is specific to the moment of its creation and, even if repeated, results differ each time. These works stem from an interest in the ways we understand the passing of time and its translation into visual language. Analogous to time, a painting can be interpreted as an accumulation of moments.
The paintings evolve without a preconceived notion of their endpoint with compositions that fold inwards. Their colour palette is predetermined, taken from a colour swatch derived from photographs of the sculptures. The paintings are made using egg tempera. With this method, the paints are made from scratch on a daily basis. Then the colour is slowly built up, layer upon layer. Much like the individual twists of wet paper pulp, patiently adhered to one another in the sculptures.
The sculptures are created using a mixture of paper, crepe paper and wallpaper paste. Paper is a ubiquitous, often throw away material, while also maintaining its affiliation as a traditional artistic material. Through manipulation, this usually flat surface acquires a three-dimensional form. Soaked paper is pulverised, drained, squeezed through a mesh and layered up individually. The lumps retain the twisted action of their making, there is a human presence in their final state.
The work is slow and contemplative in its creation due to the nature of the processes involved. The process is cyclical. The paintings inform the sculptural works and the sculptural works inform the paintings. Everything is connected. This work was made with generous support from MART gallery team, Fire Station artists studios, the Fine Art department at the Dublin Institute of Technology and all the team at D-Light studios.
MART’s 2019 Gallery Programme is supported by the Arts Council.
About the Artist
Jane Fogarty is an artist living and working in Dublin, Ireland. Her work has featured in both national and international exhibitions, including a two person exhibition, Mystery Ewer, at Artbox (2016) and three solo exhibitions; Paperwork, a site-specific installation in Harold’s Cross (2016), Mel at Eight Gallery (2014), and |’painti NG | at the Talbot Gallery (2011) as a result of receiving the Most Promising Graduate Award in 2010. Selected group exhibitions include: A ̄ ̄A A ̄ ̄A A ̄ ̄A at 126 Galway (2015); Spirit of the Stairs at Basic Space (2014); Unearth at Roscommon Arts Centre (2013); Nailing Jelly to the Wall at Catalyst Arts (2012) and ELIA’s NEU/NOW Live in Nantes, France (2010). Her work was recently added to the State Art Collection (OPW). Fogarty has also received several awards from the Arts Council, the RDS and South Dublin County Council.
MART Studio Members Exhibition 2019
Opens 16th May at 6pm
Runs to 27th June.
A group exhibition featuring a selection of artists from MART Studios.
We are currently taking submission from our members to put this show together, with this year’s lineup of artists being announced in April.
Solo Exhibition by James L Hayes
Runs 18th July – 5th September 2019
Opening Reception Thursday 18th July at 6pm – The MART Gallery Rathmines,
About the Artist
James L Hayes is an Irish contemporary visual artist whose current work and research practice reinvests a modernist sculptural language. Recent projects use methods of artistic production as a means by which to interrogate the boundaries between artist, artisan and art object in order to draw out the often-incongruous relationships between finished art objects, and the industrial aspects of the processes that produce these revered objects.
This research-based practice has an art historical agenda, referencing key creative influences such as the celebrated Welsh artist Barry Flanagan.
Broader research interests range from contemporary interpretations of sculptural legacies, to site-specific interventionist works that draw from traces of significant pasts and histories.
Previous works have drawn on diverse subjects such as industrial archaeology, other environmental concerns and social and economic conflicts. Hayes predominantly sculptural practice also encompasses multi- disciplinary and sensory-based sculptural installations. He exhibits his works nationally and internationally whilst also developing large-scale public art commissions and site-specific projects.
He has been awarded numerous awards and grants to support his practice and he also invests heavily in the University educational sector and work across the UK & US higher education system frequently taking part in visiting lecturing series and international cross collegial projects and events. Hayes is a graduate of Limerick School of Art & Design, De Montfort University Leicester and the University of London. He is the principal lecturer in Sculpture at the Crawford College of Art in Cork, Ireland.
Solo Exhibition by Richard Forrest
Runs 26th September to 21st November 2019
Opening Reception: Thursday 26th September at 6pm – The MART Gallery Rathmines
About the Artist:
Working across sculpture, new media, and installation, my practice is characterised by a spirit of experimentation into phenomenology, analysing human perception and technology’s role in altering our perceptual and cognitive experiences. The physical mechanisms of experience are of keen interest to me, for example, with the eye and optics, I am interested in how light is converted into electrical signals. Further, my work is influenced by the flaws that occur in such systems; perceptual flaws that affect human experience, causing misdirections by the brain(e.g. hallucinations). I seek an expanded understanding of objects in an age of virtual acceleration. In exploring our learned and visual understanding of form, material and space, I counterpoint tangible materials with virtual 3D graphic software such as Blender, to construct installations that question simulacrum and authenticity. My research is heavily influenced by contemporary notions of representation. These influences range from John Carmack, a Texas based games programmer, aerospace and virtual reality engineer, to podcast channels such as Radiolab. My most recent work was shown at the Royal Hibernian Academy, Dublin, in March ’17, as part of the exhibition Futures. The roots of this work lie with the ancient Greek philosophers and mathematicians who sought out truth, and looked for it within the rules and logic of language. The work takes logic as its point of departure – its journey as a shape-shifting entity from ancient Greece into the computer languages we use today. This link – between the logic found in Greek dialectics and its contemporary form observed in computing systems – is explored through the creation of an immersive video piece depicting a virtual environment, and manipulated plaster-cast sculptures placed on geometric plinths positioned within the gallery space. Since completing my BA honors degree in Fine Art from Crawford College of Art & Design in Cork, Ireland in 2011, I maintained a committed studio-based practice, supported by a number of awards. I have presented solo exhibitions and participated in several group shows.
MART are delighted to present Lectus, a visual arts exhibition featuring Èanna Heavey, Emma McKeagney and Sarah Diviney and curated by Deirdre Morrissey opening 10th January at 6pm in The MART Gallery Rathmines.
Preview: 10th January @ 6pm
Location: The MART Gallery, 190A Rathmines Road Lower, Dublin 6
Runs to: 10th Jan – 14th February
Open: Open Tues – Sat: 1pm – 6pm
Facebook Event: Link to Facebook Event Opening
The MART Gallery are delighted to announce the winners of our annual MART Exhibition Award: Èanna Heavey and Sarah Diviney from the 2018 CIT Crawford College of Art & Design Fine Art Graduate exhibition and Emma McKeagney from Fire Station Artists’ Studios 2018 Sculpture Bursary Award. The aim of this award is to provide a showcase and supported exhibition opportunity to emerging artists whose work is both engaging and experimental.
The artwork presented is a selection of sculptural forms, video work and live performance. Emma McKeagney’s beautiful sculptural objects are presented alongside new video work that further explores the materiality of natural and designed forms. Sarah Diviney’s moving performative work reflects Ireland’s state institutional treatment of women, many of whose fate was sealed due to the woeful lack of sexual education in Irish society as referenced in Èanna Heavey’s powerful and unsettling video piece ‘I’m sorry I was not here..’.
The exhibition is kindly supported by CIT Crawford College of Art & Design, Cork and Fire Station Artists’ Studios (FSAS), Dublin, the Arts Council Ireland, The MART Gallery & Studios, and Dublin City Council.
About the Artists
Emma McKeagney is a Visual Artist based in Dublin. After graduating in 2017 from Dun Laoghaire IADT she completed a year-long residency at Talbot Studios after winning their Most Promising Graduate Award 2017. During this residency she fabricated work supported by the Sculpture Bursary Award at Fire Station Artists’ Studios.
McKeagney’s practice involves working closely with material processes to create bodies of work which incorporate the idea that a process is made up of not only the artist but the material they use and the impending idea of exhibiting. Reading and discussing various topics related to New Materialism, her interest starts with collapsing any hierarchy which puts humans ahead of all other materiality.
McKeagney had her first solo-show in June entitled Unstable Categories as part of Pallas Projects and Studios’ Artist Initiated Programme. Work selected from her solo-show is presented in this exhibition and developed further through new video works is a second phase of the project.
This work aims to blur the lines between the designed and natural worlds and question the emphasis we have on dividing these categories. What is human, is a malleable category which bends and stretches depending on the objects and minerals we are oriented between.
Èanna Heavey graduated from CIT Crawford College of Art & Design with a BA in Fine Art in June 2018. “I’m Sorry I was Not Here…” explores the distorted development of self through false education, institutional structures and the ideologies of Western culture.
Interwoven into this narrative is the idea of sexuality as a core element of the human experience. The work touches on the issue of insufficient sex education within Ireland. There are some uncomfortable undertones; suggesting at what has been unsaid, unseen or unheard.The unravelling of self is an important element of the work. There is a sense of fragility; a fragile strength longing for the return to innocence, searching for freedom.
Sarah Diviney graduated from CIT Crawford College of Art & Design with a BA(hons) in Fine Art. The work in this exhibition ‘I, X’ comprises of an installation consisting of a performance piece and a video work. It investigates the authority of the Church and State within the private realm, documenting the intimacy of the domestic sphere and the position of Irish women in society.
The work explored the dangerous axis of the female body as object, amplifying this through the chosen mediums of performance and video, with the performance space acting as a developing installation. Simultaneously, the work occupies the body as a moving sculpture due to the spectator relationship between the audience and the work. The perturbed body licenses the unsettles tempo of the performance which transitions from meditative stillness to frantic action, disturbing the perceived tranquillity within the space and in turn, abruptly presenting the dystopia.
The work is an accumulation of influences by Sarah’s extensive research into the history of Irish women which generated the need for a confrontation medium to be used. The performance projects the concept into the present echoing the histories of Irish women.
*Lectus – Latin word meaning selected, chosen, choice, good, exquisite
SMART Talks is a new series of professional development presentations and workshops, providing a platform for artists and the creative community to engage with a curated selection of creative agencies, councils, artistic supports, professional creative practices, and funding providers. There will also be a space for wider discussions of issues such as arts & mental health, wellbeing, diversity and accessibility in the arts.
By providing these talks in The MART Gallery, Dublin – alongside our gallery programme and studio network – we hope to foster an environment where creativity can flourish as a professional career, where new practices can establish themselves, and where artists and creatives have the space to engage critically with contemporary issues.
Upcoming SMART Talks
Rescheduled date: Thursday 9 May – ‘Women in Film and TV’ – Led by Vanessa Gildea.
Previous SMART Talks
Wednesday 6 February 2019 – Caroline Ryan, Education and Outreach Officer at the Design & Crafts Council of Ireland will discuss available supports for designers, artists and craftspeople.
Thursday 7 February 2019 – Claire Meaney, Acting Arts Director of Waterford Healing Arts Trust (WHAT), and Emma Eager, Project Co-ordinator of artsandhealth.ie, the national website for arts and health, will talk about arts and health practice in Ireland.
Thursday 3rd May 2018 – Information session with Local Enterprise Office.
Tuesday 10th July 2018 – Visual Artists Ireland Help Desk.
Thursday 2nd August 2018 – Arts Council Funding with Aoife Tunney of the Arts Council of Ireland.
Wednesday 29th August 2018- Presentation from Jenny Walton of Culture Ireland
Saturday 15th Sept 2018 – ‘Ad Infinitum’ – Led by Róisín Power Hackett & Ruth Kerr
10th Nov 2018 – ‘Cultural Engagement in the Age of Trump’ – led by Dan O’Neill and Fiona Kenny
Rae Goodwin | Sophie Mars | Francis Fay | Conor Coady | Eleanor Lawler | Valerie Driscoll
Friday, 1 March | 7-9pm
MART Gallery, 190a Rathmines Road Lower, Rathmines, Dublin 6
As our contemporary social interactions become more fractured and impersonal, we strive to connect with one another through the intuitive language of our bodies. Raw and real, we reach for understanding and commonality through bodily action and live performance. Livestock “Intimate Gazing” is a sensitive look at our bodies and the relationships we have to each other.
These performances contain nudity. Livestock: Intimate Gazing is strictly over 18s. Tickets are €5 and must be purchased through Eventbrite.
Rae Goodwin & Sophie Mars
Perhaps needed now more than ever, we (Rae and Sophie) are concerned with questions of empathy and of acceptance and respect for female/femme/female identified bodies. What is it to be curious about another body/ to regard the body of another? In this collaborative project we set out to question: Can a woman regard the vulva of another woman with neutrality? Can a female or femme person regard another without the critical judgment born of the “male gaze”? Can we, as female/femme persons, remark on the qualities of another female/femme/female identified body with embodied consideration and kindness? This performance is made possible through the generosity of the College of Fine Arts at the University of Kentucky.
In 2015 Rae Goodwin and Sophie Mars met at Essential Departures, a performance art residency at Rosekill, an outdoor performance art venue in upstate NY. After Rae’s performance, regarding bodies, they decided to collaborate to create a new work, regarding vaginas. Now titled intimate gazing, This project has been performed with different structures at Rosekill Performance Art space in NY, Panoply Performance Laboratory in Brooklyn, the ClitArt Festival in England, in association with APAB-month of performance art Berlin and in Paris and Madrid. Rae and Sophie continue touring this series to galleries, museums, women’s centre’s, social centre’s, queer events and festivals.
Sophie Mars is a performance artist living and working in Berlin, Germany. She is interested in participatory, sensory and immersive work exploring collective and spontaneous energy and idiosyncratic ritual as new means of viewing and transforming space both physically and ontologically. Always interrogating the role of the body in today’s (digital) context, her themes include intimacy, sexuality, virtual reality and healing. She combines her two fields – dance therapy and performance – in an effort to bring about a transformation. She is currently working on a sexuality podcast, touring the body positive “Intimate Gazing” project with co-founder Rae Goodwin and collaborating with the virtual reality collective KEIKEN.
Rae Goodwin is concerned with maternal ancestry as it influences the construction of identity, assumptions of strength and notions of agency. Individual Grandmothers in our society, after a whole life they are seen thru the lens of their role or perceptions of their archetype and vastly undervalued. When she asks people about their own grandmothers many confess they do not know her first name, how she grew up, nor her favourite music. Many people do not wonder about her until after she has passed. The absence in presence and presence in absence of this grandmother figure in the social lives of families, leads her to think about relationships, relationality and vulnerability in the work. Goodwin lives and works in Kentucky, USA . Her work has shown work at the Atlanta Contemporary Art Center, McColl Center for Visual Art, Dimanche Rouge in Paris, 10/12 Gallery in Brussels, defibrillator gallery, Panoply Performance Laboratory, Grace Exhibition Space, SUPERNOVA, BIPAF and MPAB festivals and other venues. Goodwin also serves as Associate Professor and Director of Art Foundations at the University of Kentucky.
Francis Fay & Conor Coady
Today, social media such as Facebook and Twitter, and dating sites like Grinder and Gaydar, facilitate a heightened degree and volume of engagement, with online personae often substituting these erstwhile embodied realities. Frequently updating profiles, quantifying ‘Likes’ and changing photographs have however been reported to feed a narcissistic obsessiveness distancing users from that which they most yearn – intimacy, connectedness, transcendence – in a vain attempt for distraction from loneliness and alienation.
The saturation of pornography throughout our society has likewise been attributed to the same impulse. Sexualisation and violence serve as the soundtrack of contemporary culture, noise interfering with the moment, with being present, with being intimate. But what if instead of having our heads buried in a mobile phone or glued to a screen, we were to find ourselves in an environment in which real bodies exist and virtual identities are absented?
This durational performance, an intermittent soundscape culled from found Internet porn videos plays in the near dark, could just as easily be bells, car horns or the noise of a crowd at a football match. A spotlight shines from above on two men, standing naked, face-to-face.
The “Invisible Woman” is me, a sixty year old “former”. I formed the life of myself as a young woman, I formed a lasting relationship, I formed my children, I formed the life we had together as a family, I formed in former times, what happens now? I have become invisible, no longer “pertinent, perceptive, perky, precocious, precious, permanent”. In a society that values surface, image and the lie, where does maturity, experience, persistence, gravitas and confidence fit? My work endeavours to express my obstinate persistence to live and to be heard in a world where vying for attention becomes a valued skill. Of course, I too am vying for attention, “don’t turn off the lights, I’m still here”, “I’m not finished yet”, “not by a long chalk!”.
MART’s 2019 Gallery programme is kindly supported by the Arts Council.
On Saturday 2 February, MART will host a public workshop with artist David Lunney. This workshop is free and open to all, and takes place in our gallery space at the Old Fire Station, Rathmines from 2 to 4pm.
At this workshop artist David Lunney will give an intro to his string wrapping techniques which he applies to his sculptures and picture frames. Each participant will create a unique colourful woven panel.
David Lunney’s solo exhibition Things Twice (Multiple Times) ran in MART Gallery from September to November, 2018. The exhibition was a showcase of Lunney’s artistic practice, which involves the undertaking of protracted art processes. Typically, these processes start with the construction of site-specific sculptural works in Dublin Mountains. These sculptures are generally created less for their inherent value but rather to provide photographic source material for documentary artworks.
David Lunney is based in Dublin and currently a member of Talbot Studios, he has a BA in Fine Art from NCAD. Recent exhibitions include Chrome Dreams at Pallas Projects, April 2018, Re-Inforce MART LA November 2017, Landscape Contortion at Droichead Art Centre, August 2017, Glitch at Rua Red May 2017, Things Made for Drawing at Eight Gallery, 2016, Glencree Intervention at The LAB, 2015. David Lunney has been the recipient of awards such as; the Sculpture in Context Award 2014, Arts Council of Ireland Project Award (for Adorned Documents, collaborative project with artist Jane Fogarty) Falun Grafisk (Printmaking) Residency Award John Kelly RHA Black Church Print Studio Graduate Award. He will undertake a month long residency in Tynset, Norway in October 2018.
MART’s 2019 Gallery Programme is kindly supported by the Arts Council
2019 will be a busy year of exhibitions at The MART Gallery Dublin with exhibitions featuring Richard Forrest, James L Hayes, Jane Fogarty, plus awardees Emma McKeagney (Fire Station Artists’ Studios Sculpture Award) and Eanna Heavey & Sarah Diviney (MART CIT Crawford Graduate Award) and an exhibition featuring work from MART Studio members.
In addition to our exhibitions we will also host a fresh series of SMART Talks throughout the year, with presentations from artists, creatives, and funding & support bodies.
This exhibition programme is made possible with the generous support of the Arts Council.