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David Lunney’s artistic practice 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.
The resulting documentary artworks can take the form of prints, drawings or photographs. These images are rendered, framed and presented in a fashion which intentionally obscures and embellishes the original object and moment that they represent.
In these artworks, it is often the relationship between representational imagery and it’s surrounding abstract visual information which infers the process and concept behind the work. The works have a self-contained narrative; the concept and the material process are intrinsically linked in the artworks discussion of it’s provenance.
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Jane Fogerty is visual artist based in Dublin, Ireland. In 2010 Jane graduated with a BA in fine art from the Dublin institute of technology. She has been included in many national and international exhibitions including three solo exhibitions. Jane has been awarded the ‘Individual artists bursary award’ from South Dublin County Council 2016, ‘the ‘most promising graduate award’ from the Talbot Gallery 2010, the RDS ‘Lewis Crosby award for painting’ 2010, ‘The Project Award’ 2012 and the Travel and Training Award 2015 from the Arts Council, Ireland. Her work is part of the state art collection of the OPW.
In addition to her artistic practice she have been involved in numerous educational projects since 2007. These have included the Rua Red young curators project, with the OPW, Art Trolley in Rua Red, Artist in school with ‘Art school’, a project by curator Jennie Guy and artist in the community with Clondalkin youth service.
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Currently living and working in Dublin, Ireland.
My practice encompasses predominantly digital video, video installation and performative events.
Artworks have been shown in galleries and festivals nationally and internationally including; Los Angles Centre for Digital Art (Los Angeles, California), Riverside Studios (London, England), The MART (Dublin, Ireland), Temple Bar Gallery and Studios (Dublin, Ireland), The LAB (Dublin, Ireland), Custom House Studios and Gallery (Mayo, Ireland), The Shed (Galway, Ireland), Cross Gallery (Dublin, Ireland), National Botanical Gardens (Dublin, Ireland).
Mediums of exploration are central to the creative process and the final work itself, with a strong focus on the use of paint, (recycled) cardboard and domestic materials.
Areas of exploration include humour, everyday absurdities, site specific engagement and the incorporation of domestic objects (creating an alternative use for these). These elements exist alongside Rube Goldberg’s concepts in terms of cause and effect incorporated with the use of complicated objects to complete potentially or otherwise simple results.
Inspiration arises from the era of vaudeville, classical oil painting traditions and film (with a wide range of sources spanning from 1980s comedies to Charlie Chaplin and Buster Keaton).
|Dragons of Eden||MART Gallery, Dublin||June-July 2017|
|Activating Pangea: Destroy These Walls||Arena 1 Gallery, Santa Monica, Los Angeles||July-August 2017|
Using familiar and everyday materials Maybury focuses on our relationship with the temporary as a way to reflect upon the beauty and the energy rooted in the rhythms and cycles of our surroundings. Primarily a drawing based practice; Maybury extends his knowledge and understanding of drawing into sculptures, installations and animations.. Appropriating found and sourced materials, his work looks to defuse our obsession with archiving, security, permanency and preservation. In recent drawings he also exposes selected areas of the image to light for varying lengths of time, which in many cases is an open-ended process without a fixed timescale. This introduces a further dimension, creating additional disruptions, as well as new geometries, and enhancing the works’ impermanence.
Maybury’s practice is dedicated to intertwining cultural interests, artistic concerns and leisurely rituals as a reflection on our physical relationships in this world.
Since leaving art college in 2012, he has been awarded a number of artist bursaries, awards and residencies, and in 2013 took part in a European touring exhibition, ‘40-40-40’, which showcased new talent in Ireland’s state art collection. Solo and two-person shows include: ‘Anicca’, The Library Project, Dublin (2016 solo), Dukkha, Platform Arts, Belfast (2016 solo); ‘Jigsaws, Combs and Rulers’, Eight Gallery, Dublin (solo, 2014); ‘Groove Chronicles’, Market Studios, Dublin (solo, 2014); ‘Radical Line’, Pallas Projects, Dublin (solo, 2014); and with Claire McCluskey: ‘Synthesis I’, Eight Gallery, Dublin (2013), and ‘Synthesis II’, Tactic Gallery, Cork (2013). In 2016 he wss invited to present works with The drawing Works agency and in 2014 he also was invited to present his drawings on The Drawing Suite, a blog for contemporary European drawing. Recent group exhibitions include: The RHA Annual, Dublin (2016, 15,14,13 – invited); Glitch art fair, Rua Red (2015); ‘Re-ignite’, Customs House, Westport (2015); Tulca contemporary art fair, Galway (2014) and ‘On Beauty’, Roscommon Arts Centre (2015).
|A Rhythm Exposed (Routines: 5-6)||MART Gallery, Rathmines||May 2017|
|Activating Pangea: Destroy These Walls||Arena 1 Gallery, Santa Monica Studios, Los Angeles||July 2017|
|The Drawing Works – Edinburgh Arts Festival||Patriot Hall Gallery, Edinburgh, Scotland.||August 2017|
|Routine Series (7-8)
|Eight Gallery, Dawson Street, Dublin||September 2017|
Visit : helenmacmahon.com
Helen Mac Mahon is an Irish artist currently based in Dublin and exhibited in Ireland, Europe, the US and Asia. Her work takes the form of installations, sculpture and photography that explore light and perception.
“My practice is concerned primarily with the phenomena of light, movement, perception and space. The work strives to observe and reveal the ecosystem that exists between the viewer and these intangible elements that exist in a perpetual state of transformation. Changes occurring in each facet has a perceptible impact on others, revealing previously overlooked properties and characteristics.
My investigation of these elements is experimental in nature, and this exploratory process is as important as the finished piece, the unpredictability of the techniques often being key to discovery. I use commonplace materials, such as light, glass, and lenses that have the potential to act in surprising ways, distorting and obscuring the very things it is their function to reveal. Each component acts as a catalyst, bringing to light unseen potential in the simplest of materials. Maintaining the integrity of the materials is also important, so the viewer is allowed to experience the everyday objects in new and often unexpected ways.”
|Transmission||MART Gallery, Dublin, Ireland.||April 2017|
|Echo Chamber – EUCIDA 2017||Ireland, France, Latvia.||June 2017|
|TBA||Luan Gallery, Athlone, Ireland.||June 2017|
|ILLUSION on Tour||OMSI, Portland, USA.||November 2017|
I engage with sound, sculpture and electronics in my practice as a means to dissect and manipulate language. The work grapples with parts of knowledge generated by Modern Physics that are hard to imagine or convey in words as certain theories or principles are non-intuitive. I am interested in how our symbolic descriptions of reality, even the axiomatic, have proven to be only temporary and tentative.
The solid formal structures that held truth now exist precariously within the newfound multitudes of reality. The rigorous quest for certainty seems to only expand the terrain of uncertainty. Man has created an abstract language in Mathematics to convey underlying governing principles of our reality, and in so doing a platonic world is created. This world can often become difficult or impossible to convey in everyday language; it is in these places that our imagination and perception are tested.
To delve into the ambiguous nature of the language we use to describe these inherently uncertain fields, I create generative code and installation. Through the programming of interactive code, which embodies scientific principles and quandaries, I aim to overcome the difficulties of uncovering fundamental truths about the world through the abstract manipulations of words and concepts. Using a minimalist approach to installation design, I try to manoeuvre the use of technology for aesthetic and physical application.
Adam Gibney is a Dublin based artist who graduated from IADT in 2010. He was the recipient of the IMOCA Graduate Award, the Aileen MacKeogh Award and the Siamsa Tíre Emerging Artist Award. His solo exhibitions include Limbo-Excavated (2011), RE:definition (2012) , Exercises of an Audionaut (2014) and Euclid, I miss you…(2016). Other notable exhibitions include Futures (Royal Hibernian Academy, 2014), The Reverberatory (Queen Street Studios, 2013) and Around a Volta (Chateau de Servieres, 2011). His work has been exhibited across Europe and America. In 2014, Adam collaborated with actress Caitríona Ní Mhurchú on Eating Seals and Seagulls Eggs, which was shown at the Dublin Fringe Festival (Project Arts Centre) and the Edinburgh Fringe Festival (The Pleasance). From 2014 to 2016, he also worked as a part-time Assistant Lecturer in Fine Art New Media in the School of Creative Arts at DIT Grangegorman. In July 2016, Adam represented Ireland in the V Moscow Biennale for Young Art – Deep Inside. Most recently, Adam exhibited alongside Brian Duggan in The Voyage in CB1 Gallery, Los Angeles.
|Echo Chamber – EUCIDA 2017||Ireland, France, Latvia||June 2017|
|Solo Exhibition||Gachang Art Studio, Daegu, South Korea||September 2017|
|Jealous Wall||Luan Art Gallery, Athlone, Ireland||September 2017|
Sofie Loscher lives and works in Dublin, Ireland. Her practice includes sculpture and installation which is heavily influenced by Physics.
“I am an installation artist and sculptor working across art and science. Interested in perception and optics, my work uses illusions that demonstrate how visibility works. Recent exhibitions include Light Falls, Green on Red Gallery, Dublin (2015); Activating Pangea, DAC Gallery, Los Angeles (2016); Intelligent Machinery, Farmleigh Gallery, Dublin (2015); Welcome Disturbance, The LAB Gallery, Dublin (2015); Neutral: Tulca Festival of Visual Arts, Galway (2014); Agitationism, EVA International, Limerick (2014). In 2014, I undertook a yearlong Art in Science residency in the Department of Physics at UCD. I hold an MFA in Sculpture from NCAD (2013) and a BA in Visual Arts Practice from IADT (2009).
My work explores light in its most basic form. I create installations as a way of describing how visibility works; in an attempt to redirect the viewer’s attention away from the object and towards the process of perception. My practice is realised in an unconventional range of sculptural media, predominantly with a strong scientific underpinning. It makes connections between the physical world and the visual world, exploring issues of visibility, stability, perception and contradiction. I appropriate objects to find strange and unknown functions in their performances and through manipulation, subvert the context of the original material. I employ a wide variety of media and techniques, but my personal style is characterised by forms and materials that evoke feelings of familiarity and fascination.”
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.
I work with installation and sculpture using a variety of materials and methodologies including electrical currents, live sound, light, moving image, and kinetics. My approach is not prescriptive, and involves an experimental use of materials that disturb a pre-existing or familiar relationship to the object. With strong sensitivities to site and context, I develop immersive installation as a means of connecting materially, physically and psychologically to a space, whilst challenging passive modes of viewing. I draw on the physical and psychological relationship of
the self or viewer to the environment and manipulate the psyche in an immediate, involuntary response to the work.
The precarious nature of many of the works presents a real risk of failure or breakdown, situating them in an insecure and uncertain space through their very manufacture. This is a critical space in my research and practice
that the work occupies intentionally. Here, I am interested in the inbetween-ness of things: slippages of time, language or understanding between one moment and another, between one person and another; and reflexivity and the indeterminate nature of psychological and emotional experiences. Within this, the nature of art as an experience that is changing and unfixed rather than finite and permanent is also explored.
|Solo Exhibition||Galway Arts Centre, Galway||2017|
|This Isn’t It||nag gallery, Dublin||May 2017|
Dr. Katherine Nolan is a contemporary artist working primarily in video, photography and performance. She is also a curator with MART, Livestock & Dublin Live Art Festival, and a lecturer in Digital Media at the Institute of Technology in Blanchardstown. Exploring tensions between the experiential and spectacular body, the artist turns a ‘trivial’ and ‘frivolous’ fixation with herself as image into a critical weapon, seeking to unravel narcissism and twist its clichéd terms. She employs strategies of pleasure, humour, complicity, resistance and intervention seeking to disrupt taken for granted cultural significations and trouble social agreements. She has performed and exhibited internationally in Europe, America and Asia. Recently at LACDA Los Angeles, Supermarket Art Fair Stockholm and the Freud Museum, London. She currently lives and works in Dublin.
|Activating Pangea: Destroy These Walls||Arena 1 Gallery, Santa Monica, Los Angeles||July-August 2017|
James L Hayes is a Irish contemporary visual artist and educator. Hayes’s latest series of works aim to reinvest a modernist sculptural language, whilst exploring aspects of the casting process as a means by which to interrogate the boundaries between artist, artisan and art object. His sculptural work aims 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 also highlights an art historical agenda, through the referencing of key creative influences, such as the noted and celebrated Welsh Artist Barry Flanagan. This referencing or re imagining is brought together with his broader research interests that range from contemporary interpretations of sculptural legacies, to site-specific interventionist works that draw from traces of significant pasts and histories.
Aside from sculpture as a primary medium, Hayes also creates kinetic, film and sound based works and installations.
Recently completing a residency at the Irish Museum of Modern Art, in Dublin, Hayes also recently completed his second solo show in New Orleans in the summer, 2016. Alongside his gallery practice he has been awarded a number of large-scale site-specific public art works most recently for the Arts Council of Northern Ireland and the Office of Public works in Ireland and has most recently been awarded a major Public Art Commission by Dublin City Council for the Historic Liberties district in Dublin.
Hayes is a graduate of Limerick School of Art & Design, De Montfort University Leicester and the University of London. He is also the principal lecturer in Sculpture at the Crawford College of Art in Cork, Ireland.
|Office of Public Works, Public Art Commission||Fermoy, Co Cork.||January 2017|
|Activating Pangea: Destroy These Walls||The Liberties, Dublin.||July – August 2017|
|If The Walls Could Talk||The Liberties, Dublin.||September 2017|
View: Artist Bio
Eleanor’s work concerns ideas around domesticity, being female and the ageing body. These concerns manifest as performance, textiles, movement, installation and film. Eleanor has been performing since 2011 and
has been fortunate to have performed in Europe and USA.
Her films have been shown in Liverpool Biennale, Whitechapel Gallery and as part of “Visual Deflections” in 2008/9. Her latest film, The Invisible Woman, will be shown at LACE Gallery in Los Angeles in March 2018.
She has co-curating Livestock with Francis Fay since 2011 and has been an Assistant Director at Dublin Live Art Festival for 2013/14 & 15. She is an active member of the MART Gallery and Studios in Dublin 6.
Eleanor has a BA Fine Art from DIT, Dublin and an MA in Textiles from Goldsmiths College, London.