Archived Online Gallery [2007 - 2016]

  • Kitchen Drama, Projection, Joe Ryan
  • Joe Ryan, Memories, digital print, 135cms x200cms
  • Girl Running, Joe Ryan copy
  • From here to Letterfrack installation
  • Fear in the Home, Projection, Joe Ryan

Joe Ryan

My work and research interests revolve around Art, institutions and Social control, which could involve complex labyrinth structures and intertwining systems all interdependent on each other, I am also interested in architecture and the built environment where buildings invoke their own form of control and power, such as Jeremy Bentham’s theories of panopticons and Erving Coffman’s “total Institutions”.
As a multi disciplinary artist I work in a variety of mediums such as etching, film, painting projections, installation where the medium can be interchangeable and hybrid or where the concept of power dictates the medium in that which medium would be more aesthetic or visual.

Multi-disciplinary artist. Work methodologies include constructing and deconstructing mediums and splicing forms together often into large installations which ingulf and dominate a space. Lives and works between London and Dublin. Graduated with a distinction in M.A. Fine Art, printmaking from University of East London. Exhibited and held in collections and archives in U.K., Hong Kong, China, Taiwan, Malaysia, Japan, France, Dubai. Has had several solo shows in Ireland and the U.K. and exhibits regularly in Europe, U.S. and Canada. In 2014 selected for international juried print exhibitions in Spain, New Zealand, Bulgaria, Indonesia. Currently undertaking doctoral research in Fine Art at University of East London. Commissions include producing artworks for theatre, conferances, festivals, educational institutions, hospitals, and community spaces.

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Adeleine Jourdel

Nonverbal communication represents two-thirds of all communications. From this Adeleine Jourdel tries to work on a physical space which hosts a lyrical mind.

Grinding pigments, drawing, engraving, photographing is her way to show the use of time in contradiction to our culture of immediacy. Through her art, she try to bring a degree of serenity… hoping to share this feeling with the audience.

From lunar landscapes, cameos, fabric folds, abyssal fantasy, bit by bit white spaces and soft shades emerge in an in-between state framed by blur boundaries. After her work on details of human body and botany anatomy, her art-works is extending the scope of its exploration to a wider space: dreamed maps, unfolding landscapes. A room full of vacuum invites the viewer to stare into space and breathe.

Adeleine Jourdel is a French artist based in Dublin. She holds a BA in Art Visual at Lille III University, France, 2009 and MA in Cultural Linguistic mediation at La Sapienza, Rome, Italy, 2011.

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Deirdre Hegarty

My work seeks to explore the visual and auditory qualities of the audio realm. The possibilities of interaction between analogue and digital are underlying themes within my practice. There is an undeniable bond forged within the encounter of the seen and the heard, and it is this curious relational bond that acts as a catalyst for the work. There is a want within the work to tease out what is seen and what it visualised within; audio subtly interjects between the known and the believed. Experience, belief and cognition are conditions of the human interaction that are to be transposed.

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  • Fino alla fine
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Valentina Furian

The investigation of the artist focuses mainly on the planning of site-specific works that find in their location their raison d’être, but at the same time they are silently inserted in, creating new keys of sense. Fundamental to her artistic research is the context for the work being created and where it will keep on living.


Jennifer Kidd

Born in 1983 in Ireland, Jennifer Kidd graduated from DIT – Dublin Institute Of Technology- in 2007 where she received a BA honours Degree in Fine art.
In that year she was awarded ‘Best In Show’ and exhibited at Film Base and the Digital Hub. She was also reviewed in Circa at ‘Pick of the years graduates’.
Since then Kidd has been exhibiting Internationally and is now currently based in London where she regularly exhibits and curates.
In the last year she has been working with the animators and production team from Tim Burton’s Corpse Bride to create feature quality stop motion animations which are site specific performance pieces and this year will be collaborating with performance artists around London and Berlin.
Her work focuses on the everyday habits and rituals we adopt as coping mechanisms as we  as social politics and of how we behave around one another. Through the use of performance through stop motion animation Kidd attempts to engage with her audience through notions of entertainment rather than confrontation.


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Gearoid O'Dea

My practice has mainly examined the relationships we establish with objects and the concept of characterising emotions and though processes. While continuing along this line of enquiry, I am illustrating seemingly disparate elements that present no clear narrative for the viewer.

I am interested in our relationship with the in animate and the personalities that we imbue them through our anthropometric tendencies. My research has been mainly centred around this topic.


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Amanda Rice


My practice encompasses site-specific photography, video and installation. Using these mediums I choose to discuss both natural and unnatural landforms which have associations with the philosophical notion of the sublime and horror. My projects often contain a multi-tiered narrative allowing the viewer to oscillate between fact and fiction. My work discusses urbanization, progression and the idea of failed utopian systems. These systems often begin with a desire to conquer and civilize landmass; the subsequent effects of these systems on landscape are where my interests lie. My ideas are fed from time spent within the expansive rubble of Chinas’ demolished villages and most recently time in the Alps in Obersalzburg, Germany where the NSDAP Party in the 1920s-1940’s owned numerous residences in the mountains has led me to consider the façades of beauty and horror within a vague and unattainable wilderness.

Utopias afford consolation: although they have no real locality, there is nevertheless a fantastic, untroubled region in which they are able to unfold’ (Foucault: The Order of Things, xviii)

The entire trajectory of my current practice deals with the search for a supposed ideal leading me to begin the construction of my own landscapes, through the use of industrial materials, forming an almost synthetic or pseudo-nature which speaks of a volatile future.”


Amanda Rice graduated from the Crawford College of Art and Design in 2008. She has exhibited, nationally and internationally, selected exhibitions include 2013; Locked In/Locked Out, NLA IV, Imoca, Dublin, A Spectacular Form of Amnesia, (Solo), the Customs House Gallery and Studios, Ireland, 2012; Watching the River Flow, Curated by Sean Walsh, Centro de Artes, Portugal, Cutting a Door curated by Robert O Connor, Eastlink Gallery, Shanghai, 2011: CUBEOpen 2011 (work shortlisted for annual residency at CUBELab2012) at the CUBEGallery, Manchester.

Recent awards include: Culture Ireland Exhibition Award 2013/2011, Mayo County Council Bursary 2013/2012, Irish Arts Council Travel and Training Award 2012/2011, and Cork City Council Twinning Award 2011. Her work can be found in the collections of Cork City Council (2012) and CIT (2008) and a variety of private collections. Commissioned works include the Key Stone Project in association with the National Sculpture Factory at the Bodega Cork. (2009)

Forthcoming Projects include: (2013) A Spectacular Form of Amnesia at Kunstraum Arcade, Modling-Vienna and (2014) FIND, Mayo County Council Public Art commission.

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Niamh Hannaford

Niamh Hannaford is an artist and jeweller. With her background in metalwork, B.A in Metal work National Collage of Art and Design 2010, she utilises precious metals and industrial appliances to make interactive instillation pieces. Her work focus on aspects of play with the aim to create a feeling reminiscent of childhood wonder and curiosity.

  • 11.-Stack,-Joan.'Connectivity',-100x70cm,-x2,-oil-on-canvas,-with-cat-6-computer-cable,-2013.
  • 110.pocket-mirror,-collage-on-cardboard,-2013.
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  • 18.superser-series-2,-mixed-media-and-collage-on-paper,-20x20,-2012.
  • 17.exterior-interior,-oil-on-paper,-25x25cm,-2012
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  • 13.Stack,-Joan.'Looking-back,-thinking-forward',-8x10inches,-x2,-black-and-white-photograph-with-collage,2013.
  • 12.Stack,-Joan.'Looking-back,-thinking-forward',-8x10inches,-x2,-black-and-white-photograph-with-collage,2013.

Joan Stack

Joan was born in Kerry in 1989. She graduated from the Limerick School of Art and Design with a 1st class Honours in Painting in November 2012. She is a member and Senior Gallery Assistant in Ormston House Gallery, Limerick City. In the past months Joan has exhibited work in Cork, Dublin and in Wicklow as part of The Emerging Artists Exhibition 2012 at The Courthouse Arts Centre. She is a member of Wickham Street Studios. She was awarded an Emerging Artist Studio Residency in The Irish Museum of Modern Art, which took place between March and July of this year. She was recently announced as one of the first recipients of the Limerick City Council Artists Residential Award.

Artists Statement

Joan’s practice combines drawing, painting, installation & photography. Through a process based practice, spaces are created, juxtaposing elements from the everyday in an attempt to explore alternate ways of seeing. Her current work is largely concerned with the pursual of curiosities and investigates ideas of the banal and the imagination. Inspiration can be found in the simplest of things or in the most ordinary of places.

The engagement with both urban and rural surroundings is an important departure point in Joan’s practice and how she begins to formulate research. Encounters with peculiar objects or the witnessing of seemingly mundane events, which form part of our everyday experience, have created the basis for recent studies. Gaston Bachelard’s idea that one must be receptive at all times to the world and in particular to an image when it appears, is a concept which manifests itself in her practice. Experimentation and manipulation of materials are of central importance.

Joan’s latest studio project incorporates found materials. She is interested in the subversion of an objects usual depiction. For her new body of work, Joan is utilizing material from her own personal archive and studio, as well as from the mass media. By reflecting on and working with these materials she has entered into a heterogeneous way of making; with each found item introducing a new direction or avenue for investigation. The body of work explores the relationship between the intentional and the chance occurrence, something which at times can involve a struggle and failure.

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  • t_'The ground does not exist'  Plaster, steel, timber
  • t_'The ground does not exist'  Plaster and timber
  • t_'The ground does not exist'  Plaster and paprer, detail
  • t_'The ground does not exist'  Plaster and paper
  • t_'The ground does not exist'  Installation shot, the Joinery
  • t_'Surrogate'  Cast plaster, concrete dye and coal dust
  • t_'Relent'  Cast Plaster and Rubber, the Joinery
  • t_'Murmur' detail
  • t_'Murmur,' Five Lamps
  • t_'Hold' detail
  • t_'Hold,' carved coal
  • t_'Eventual Apparatus' Coal and Milk, The Joinery
  • t_'Eventual Apparatus,' Coal, milk, Temple Bar Studios, Dublin
  • t_'Eventual Apparatus,' Catalyst Arts Belfast.  Image courtesy of Catalyst Arts and Jordan Hutchings

Marie Farrington

Through the convergence of form and material, Marie Farrington’s work negotiates a range of spatial and art historical concerns and is bound to transformative action.  Investigating the limits and metaphorical potential of material, Farrington’s practice seeks to traverse the space between form and function, her largely process-driven approach surveying how modes of making may influence objects and their operation within a network of physical and allegorical concerns. The duality between process and outcome results in work that is both evasive and connective and materials that are both acutely present and never fully there.  Farrington’s practice serves as a relentless revisiting of existing systems, a reworking of the forms and materials we are readily exposed to.  The oppositions presented ground the work in the physical resulting in objects that are suspended between various identities and that operate simultaneously as a subversion and a making explicit of material.  Due to the work’s relationship with the viewer and the spaces that surround us dialectics develop that lend to the work a distinctive contingency and open up an inquiry into the nature of the real.

Marie is currently studying Fine Art in DIT (BA).  In January 2013 she was awarded a residency at the Irish Museum of Modern Art in association with the Basic Space Studio Residency Program.  Recent exhibitions include the Catalyst Arts Annual Student and Recent Graduate Exhibition, Belfast (2012); Outside the System of Difference, the Joinery (2012); the Five Lamps Visual Art Exhibition (2012); Denature, the Little Green Street Gallery Dublin (2012) and 110880 at the Atrium, Temple Bar Gallery and Studios Dublin (2012).




69/851/07 video reflects the memories of living in the direct provision hostel, accommodation center for asylum seekers in Ireland, after the escape from my country.

It is a personal testimony.

The photographs in the video are taken inside of the hostel building in Ballyhaunis, co. Mayo.

The video is based on a true story

  • 14. Untitled 2013
  • 13. Swimming in Ballycroy 2013
  • 12. Fonte - Zero Sum Games with Mart, Lisbon 2013
  • 11. Launch 2013
  • 10. Urban Swimming - Sofia 2013
  • 09. Slippery Pole Competition, drawing from the book %22The History of the Slippery Pole%22 2013
  • 08. This is your normal 2013
  • 07. Urban Swimming Inchicore 2013
  • 06. Lambay Swim installation 2014
  • 05.Lambay Swim 2014
  • 04. Psychoswimography Santa Barbara -The Ocean Duck's Breakfast table. 2014
  • 03. Psychoswimography Santa Barbara 2014
  • 02. Uncharted 2014
  • 01. Uncharted 2014
  • 019. Gold Belly -detail 2009
  • 018. The Linenhall Arts Center, Co Mayo 2010
  • 017. Coney Island Polar Bear Swim Clun N.Y. 2012
  • 016. High Rock 11.03.12
  • 015. 10.08.12
  • 014. Swim to Work Day 2010
  • 013. Welcome to Dublin - dawn swim in the Liffey 2011
  • 012. Bucket test 1 2012
  • 011. Urban Swimming - Sofia, Bulgaria
  • 010. Urban Swimming - London 2012
  • 09. Urban Swimming - London 2012
  • 08. Urban Swimming - Dublin 2011
  • 07. Swim 1
  • 06. Swim 1 April 2012
  • 05.Night Swim 1 2012
  • 04. My Liffey Wedding 2012
  • 03. My Liffey Wedding 2012
  • 02. My Liffey Wedding 2012
  • 01. My Liffey Wedding 2012

Vanessa Daws

I have always swum, not competitively, or for particularly long distances; but when passing a body of water, be it pond, fountain, lake, river or sea, I do find it hard not to resist the urge to take a quick swim.

My art practice investigates where this drive to swim, to immerse oneself in water comes from. Is this urge spiritual, escapism or social? Is it the sheer thrill of the unknown; to feel the water on our skin, the cold on our head, adapt our breathing and to feel we exist? My work explores ways in which we accept as normal our pursuits and chosen rituals, and also how through acclimatisation and adaption we can surprise ourselves and go beyond our expectations.

Using swimming as a starting point, my work lends itself to site specific situations and through chance meetings, the search for swimmers and for the ultimate swim spot stories appear that lead the projects; this process I describe as ‘psychoswimography’. Swimming, encounter, invitation, journey, film, drawing, made object, conversation and publications are all elements that build up my art practice.

My work has taken me to the frozen Pirita River, Estonia; Santa Barbara; London; Dublin; Lisbon; The President’s Fountain, Bulgaria; The Pontcysyllte Aquaduct, Wales to the bogs of Ballycroy, Mayo.






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Tristan Hutchinson

Tristan Hutchinson Statement and Bio

Tristan Hutchinson (b.1980) is a photographer based in Dublin. He graduated with an MA in Film Production from UCD in 2009 and from Nottingham Trent University in 2002 with BA (Hons) in Fine Art.

Tristan is also represented in the UK by Millennium Images, London.

Working in Medium and Large Format photography, Tristan explores themes of contemporary community and ‘place’, examining the impact from political ideology, and economic and industrial endeavor.  He has exhibited and screened work in Ireland and Europe, with Took Strength To Tackle Those Hills featured in Prism Photography Magazine and Jörg M Colberg’s Conscientious.

Selected Exhibitions:

–       Sketches for Terroir I, Unit 4 James Joyce Space, Dublin, April 2013

–       Took Strength To Tackle Those Hills, Cork County Arts Exhibition space, February 2013

–       Took Strength To Tackle Those Hills, PhotoIreland International Photography Festival, July 2012

–       Royal Hibernian Academy Annual Exhibition, May 2012

–       Ghosts, short film, One Minute Film Festival, Belgium, 2011 (nominated for Grand Final)

–       Sketches for Midwest I & II, Filmbase, Dublin 2010

–       Preponderance of the Small group exhibition, Douglas Hyde Gallery, Dublin 2009


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Tricia McCarthy

Tricia McCarthy graduated with a first class honours fine art degree in ’04 and worked as an artist with the Galway University Hospitals Arts Trust.

Tricia sadly passed away on the 8th feb 2010, after her brave struggle with cancer. Tricia was part of the MART launch exhibition in 2007 and took part in Galway arts festival exhibition in 2008. Her co-laborations with Vertigo Smyth produced the memorable work’s ‘Surreal Estate’ and ‘If Books were Rooks’. Tricia was an innovative and playful artist whose positive outlook on her life and work is an inspiration. Even in the weeks leading up to her passing she managed to submit an application for an artists bursary from the Arts Council and sell out all her pieces at a show in white room gallery in December! She is a huge loss the visual artists of ireland and to the all that had the pleasure of knowing her.

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Tonya McMullan

Looking into elements  imbedded within our national psyche, Tonya attempts to offer the viewer a clue or comment to the themes of the everyday, and the trials, tribulations and struggles we all go through in our desires to win and achieve.

Using a broad range of media including sculpture, video and print the work focus is on the thin threshold dividing collapse and grandeur. Working cross disciplinary with themes such as surveillance, mechanical control, repetition and hypnotism the attempt is to liberate subjects/objects encouraging us to consider the confines of our environment.

Exhibitions 2010/11
Give and Take, Group Project, Lost Coast Culture Machine, California February 2011 and PS2, Belfast April 2011
Going Green, Belfast print workshop members show, Belfast 
August 2010
Death to Delawab, group show, Space Delawab, Belfast, July 2010
Cutting Stories Engraving Lines, group show curated by Peter Munschler, Island Art Centre, Lisburn Transcend part of IMAF (International multimedia art Festival, Odjazi, Serbia) July 2010
Dirty Cop Friday, The Old Police Station, Deptford, London, May 2010


Tony Kenny

Tony Kenny was a visual artist working in Dublin. Tony sadly passed away in 2012 and MART pays tribute to him by showcasing his great work with this page.

Also see : &

2011: Invite or Reject

Imagine Ireland Group Show
Studies for Ogygia Number 8
C4 Contemporary Art Los Angeles
Aug 2011

2011: Ogygia  In production
A Phantasy in Fact
A tripartite, feature length, digital production that is at once based on the extraordinary odyssey of Malachi St. Jesus Fogarty; is a contemporary retelling of Homers Odyssey and is a radical mediatic parody of the greatest modernist novel.
Ogygia Production Log 
Clips from Ogygia, Parts III & III



Capital Irish Film Festival, Washington DC
Darklight: State of The Nation
Friday, December 10th at 9.00 p.m.
Goethe Institut, 812 7th Street NW,
Washington DC
Ogygia, Part One – A work in progress
Screening at Darklight Festival 2010
Saturday 30 October, 2010, 3:30pm
Grand Social, Liffey Street, Dublin 1
A contemporary retelling of the heroic odyssey of Malachi St. Jesus Fogarty. Funded by the Arts Council, An Chomhairle Ealaíon , the complete film comprises 18 episodes each 7 minutes long. There will be a discussion about the work following the screenings.

2008 – 10: Studies for Ogygia Number 5 – Hades
Prototypical active publicity instruments produced as part of research project into the paratactic disintegration of narrative structure in digital media.
MA Fine Art Digital Media, NCAD

2008: Study for Ogygia Number 7 – Calypso

A film set in the head of a disembodied, warped and mute poet embarking on an elliptical perambulation of Dublin. Concerned with the nature of perceived duality, consciousness and conscience, it is a subjective examination of mans compulsive mind; a meditation on the nature of escapism, grief, hallucination and acceptance: obsessively wrapped up as a long form visual love poem with lots of birds, bees and biplanes.


2006: Argentina Privado – Short Film
2005: Stalkingirvine – Online collaborative installation
2004: The Joys of Ex
 – Installation, various locations, Dublin
2004: Bloom Is A Cod – Installation, Dublin, Various locations and materials
2003: Uncommissioned Public Art, Rooftops, Temple Bar, Dublin
2002: Story? – Wall mural
2001: The Perfect Burger -Documentary
2000: Yes To Everything – mobile piesta resistance

awards and exhibitions 

2011: Invite or Reject, Group Show, C4 Contemporary Art, Los Angeles, Aug 2011
2010: Columbarium – Capital Irish Film Festival, Washington DC
2010: Ogygia – Part One, Work in Progress – Darklight Film Festival, Dublin
2009: Study for Ogygia – Group Show, Lighthouse Cinema, Dublin
2008: Film Project Award, The Arts Council of Ireland / An Chomhairle Ealaíon
2007: Bord Scannán na hÉireann, writer development award
2006: Columbarium – Jury Prize Award, Darklight Digital Film Festival
2005: Film Project Award, The Arts Council of Ireland / An Chomhairle Ealaíon
2004: Pádraig Muca’s Anti-Anti Globalisation  Movie, Darklight Film Festival
2004: The Joys of Ex – St. Stephens Green, Dublin
2004: Columbarium – Film Project Award, An Chomhairle Ealaíon
2002: Retreat, Group Show, Melbourne, Australia
1997: Digital Media Prize, Shoplifting – Hamburg International Short Film Festival
1995: Shoplifting CD-ROM on permanent exhibition, Glasgow Museum of Modern Art
1994: Artflight Award – Amsterdam
1994: Rand Van Europa Amsterdam – Retrospective of five films
1994: Artflight Award – Reel Time NYC, guest Exhibitor & Curator
1993: 500 Years of Rope – Exploding Cinema London
1993: A Necessary Inference… – VIP FILM Festival, Berlin
1992: Brownes Medical Supplies, Six Virgins & a Bear, Installation
1992: Sculpture In Context, Six Virgins & a Bear, Installation
1991: Arts Council /Aer Lingus Artflight Award, Frankfurt
1991: Hamburg International Short Film Festival, Special Jury Prize
1990: Cogito Ergo Phuq, VIP FILM Festival Berlin
1989: Cogito Ergo Phuq, Galway Film Fleadh, Dublin, Cork, LA, California
1988: Beached Elvis, Performance, Fort Funston CA

2011: Ogygia – Part One (26:00, HD)
2010: Study for Ogygia (Infinite Loop, HDV)
2006: Columbarium (25:00, DV)
2005: Privada Argentina (25:00, DV)
2004: Pádraig Muca’s Anti-Anti Globalisation  Movie (00:30, DV)
1995: Shoplifting (Infinite Loop, CD-ROM)
1994: Zipper II (2:00, Vhs)
1993: 500 Years of Rope (10:00, 16mm, B&W)
1992: Pro-Choice Film (2:00, 16mm, B&W)
1991: A Necessary Inference Differs From A Contingent  One In That The Premise Alone Suffices To Warrant The Conclusion (2:00, 16mm, Colour & B&W)
1989: Cogito Ergo Phuq (10:00, 16mm, B&W)
1988: Xmas In Four Dimension (3 :00, U-matic)
1987: Carmencita Shark Dog (3:00,U-matic)
1985: Suddenly My Head Blew Up – It Was Like Something Out Of Scanners (1 :00, 16mm, Colour)


Svetlana Sobcenko

Svetlana is a young and aspiring animator, illustrator and performer that have been involved in interdisciplinary collaborative work with fashion magazines, poetic groups, photographers and illustrators. Her works have been shown in various festivals and screenings in Ireland and abroad.

Her previous participation in number of international seminars and workshops accumulated vast knowledge on creative aspects of personal work and its production. It encouraged to develop particular critical thinking and stimulated further interest in collaboration and experimentation with different media.

Currently she’s living and studying inIreland.

  • Processing Theta 2012
  • Moth to Bulb 2012
  • Mechanical Dreaming  2011
  • Maternal Dreams 2011
  • Magnetic Stream 2011
  • Hypnagogic Images 2011
  • Frequency Control 2011
  • Eye-Fly 2012
  • Extended Calculus 2012
  • Cycle 0.1 to 4 2011
  • Cycle 0.1 to 4 2011 (2)
  • Carrier Moths 2012
  • Bubble Head 2012
  • Alpha Male 2012

Stephanie Golden

Stephanie Golden is an Irish visual artist based in Dublin. She graduated from the Visual Arts Practice course at the Institute of Art Design and Technology, Dun Laoghaire 2012, specialising in 4D.

Stephanie is an installation based artist whose practice is concerned with ideas surrounding states of consciousness, the body and reality. Through the combined elements of kinetics, sculpture, animation, sound and drawing she explores how we are involved in an interconnected exchange of information. Her work seeks to capture the boundaries between the mind space and real space through the creation of entities that may exist between the two.


Some exhibitions include;

The Spaces of Art and Architecture, The Drawing Project, 2012

The Aesthetics of Restriction, The Drawing Project, 2012

The NestXstage, The Black Loft, 2012

MESH, Hello Operator, 2011

A Siege of Bitterns, D-Light Studios, 2011

Unit 50 Something, The Complex, 2010

  • blackout greenonredgallery 2015
  • icosahedron farmleigh 2015
  • Triamgulation the lab 2015
  • Waiting in the wings EVA 2014
  • Blackout Farmleigh 2015

Sofie Loscher


View: Artist CV | Artist Portfolio | Artist Bio

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.”

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Sassu Antonio

1999 Fondazione Gruppo Sinestetico (manifesto ) Albertin M. Perseghin M. Sassu A. ) Torreglia Pd Italy

2001 49th Biennale di Venezia  Bunker Poetico and Happening Virtual  Venice  Italy

2001 PERFORMANCE a cura di Inga Pin , E.Miccini , E.Jappe , Mantova Italy

2002  Manifesta 4 Frankfurt Project FREE MANIFESTA (curator Sal Randolph ) Kunstverein  Frankfurt  Germany

2002 London Biennale 2002 Actions Synesthetics (video) director David Medalla , London  Inghilterr

2002 Liverpool Biennial 2002    Project  “ Liberarti “ (video) curator Karen Eliot  Liverpool  Inghilterra

2003 Gallery 291 Film Screenings + Performance (Video)curated by Gulsen Bal London   Inghilterra

2003 Biennale Kyoto 2003   Kyoto  Japan

2003 50th Biennale di Venezia 2003 “Extra 50” Brain Academy Apartment  Venezia Italy

2003 Museo da Imagen Florianopolis “sinesteticamente” (curator Flavia Fernandes) Florianopolis Brasile

2004 London Biennale  2004    London   Inghilterra

2004 Liverpool Biennial 2004”Precipitation” (Museum MAN curator Adam Nankervis ) Inghilterra

2004 VII Bienal do Reconcavo (Rio de Janeiro) 6 nov 2004  –  22 gennaio 2005  Reconcavo Brasile

2005 Biennale Hong Kong 2005  China

2005 Web Biennial 2005 Museum Art Contemporary Istanbul Turkye

2005 WPS1 Art radio 51°Biennale Venezia and MoMA   N.Y.

2005 RAM Radio Arte Impetus 51° Biennale VE (ideatore M.Pistoletto curat. A Bonito Oliva) Italy

2006 5+5 Gallery  Brooklyn New York  Usa

2006 London Biennale 2006  London Inghilterra

2006 Museo Casabianca “Worn Contagion Pollinations” Malo (Vicenza ) Italy

2006 Museo Historico de Santa Catarina Florianopolis (Brasile)

2006 Palais de Tokyo images libres 2006  Paris  FRANCIA

2006 Biennial Liverpool 06 collateral project “INDEPENDENDENTS” 2006 Liverpool  UK

2006 10th Biennale Architettura Venezia 2006  Zitelle Collateral Project  Venezia  ITALY

2007 -2005-2003-Museum New Art (Mona) International Video Festival Detroit USA

2007 Web Biennial 07 Istanbul Contemporary Art Museum  TURKEY

2007 Studio.ra “Chi vuoi eliminare “ ? (personale Gruppo Sinestetico ) Roma ITALY

2007 P3 Project collateral – 52° Biennale d’Arte 2007 Venezia  ITALY

2007 Joseph Beuys “Difesa della Natura” (collateral) 52° Biennale Venezia Spazio Thetis Venezia ITALY

2007 Athens Bienial 2007 Artwaveradio  Athens GRECIA

2008 The (Self) Promotion Show – Supermasochist  –   Gallery Apexart New York , N.Y.  (USA)

2008 London Biennale 2008 “Pollinations” and “Arrows”  London  UK

2008 Liverpool Bienal Indipendents 2008 HeadSpace , Liverpool UK

2008/2009 IX Bienal do Reconcavo , BRASILE

2009 CaC 09  4° Annual Festiva Art . Uttarakland , INDIA

2009 Open , International Performance art Festival Beijing  CHINA

2009 Visions in New York ,  video and still exibition , New York – USA

2010 Catodica 5 Stazione Rogers (curat. M. Campitelli) , Trieste  ITALY

2010 Fluxus Museum # 4 Forth Woth Texas USA

2010 Lost & found – Internationales Festival der Fotografie- Ruhr Biennale Duisburg , GERMANY

2010 London Biennale 2010  , London UK

2010 Ruhr Biennale 2010  Duisburg GERMANY

2010 Independents Liverpool Biennial , Gallery4allarts , Liverpool  UK

2011 Prix du livre d’auteur in Les Rencontres d’Arles photographie , Parc des Ateliers , Arles FRANCIA

2011 Biennial Porto Santo’s Biennial 2011 , Madeira  Portugal

2012 CeC 2012 ( indipendent Short-Creative-Videoworks) , Uttarakhand , INDIA

2012 6° Bienal do Esquisito Museu Olho Latino ,Estancia de Antibaia , SP  BRASIL

Si sono occupati del Gruppo Sinestetico :

Umberto Allemandi ,Luginbuhl Sirio  , Miccini Eugenio  , Randolph Sal  , Medalla David  , Gian Ruggero Manzoni ,  Gulsen Bal , Jagodic Stane , Segato Giorgio , Cramer Peter, Lucrezia De Domizio Durini , Perretta Gabriele

Stefanidis Manos , Pignotti Lamberto , Alchuk Anna , Biasi Vittoria, Francisci Bruno, Martusciello Barbara

Carrera Mauro , Campitelli Maria

reference :



: VIATICO Art Magazine


Sarah Lundy

Lundys work mediates purely formalist concerns and contemporary conceptualism. Through the use of moving image, assemblage of quotidian objects and ephemeral performance materials, the works endeavor to negotiate provocative arrangement and questions autonomy in the face of homogenization. Her practice involves the production of stoic visual accounts of the experience of the individual’s independence through consideration of the inevitable synthetic systemization of language, labor, behavior & biology. The aesthetic is post-minimalist with a focus on eloquent paradoxes of form and function, and their relationship to the notion of identity. Drawing is a central concern in Lundys practice and observation and documentation of same in simple situation with inappropriate media [‘Affected Respect’, 2012, coffee stain traced in pen on plinth top, covered in glass plate]. Surfaces are often used in an exploratory manner with an ocular play on relief and it’s representation in respect to its physical and metaphysical reality. The significance of positive and negative space and substance is an ongoing investigation for the artist. Binary opposition is used as a core means of comprehension on one had whilst exploring contradiction on the other, as is evident in many of the works titles.

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Samantha McGahon

The mundane rollercoaster is a project visualised during my four month residency at Digital Arts Studio, Belfast

Using an in-car digital video recorder over the past six months, the backdrop to my travels has been recorded as a double vision in contrast to what I perceive as I focus on the my destination, the video recorder has no such obligations. Assessing the hours of 3 minute segments which can be interpreted into narratives, vinaigrettes, repetitions, and once off chance occurrences this residency will give me the opportunity to focus on the many aspects of this moving image work in progress. Which also reflects the changes in weather, seasons, different times of the day, cloud formations on the tide, mountains and landscape.

This investigation follows on from a photo essay documenting the under bridges on the motorway between Dublin and Belfast, these images on the periphery of our daily journeys caused me to question my own travels within the confines of the solitary space of my vehicle, which can be seen as a refuge from our everyday experiences and routines. I created spaces of refuge, from the outside looking in, this current research explores looking out from places of refuge.


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Sabina Mac Mahon

My current practice involves the reinterpretation of the lives of the saints through the creation of fictional narratives that are presented as factual documents through a combination of photography, video, found objects and installations. I am interested in how saints are depicted in both fine art and votive images, the use of attributes in traditional hagiographical iconography and how these relate to biographical accounts of the lives of the saints, many of which exist somewhere between factual historical accounts and legendary fictions.

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Sinead Curran


Sinead is a Dublin based artist whose practice questions our connection to architecture, while creating tension between real space and cinematic space. Video, photography and installation are used to investigate everyday spaces and narratives not unlike those found in cinema. Feelings of unease, the unspoken, alienation, paranoia can be found in the work as if there is a viewer always present.

Sinead completed an MA (hons) in Visual Arts Practices at Dun Laoghaire Institute of Art Design & Technology, a BA (hons) in Visual Arts Practices at IADT, a BA in Fine Art at Crawford College of Art, Cork and a BA in Computing at WIT.

She has received a number of awards, including Ealaín Na Gaeltachta, Create Artist in the Community Award and South Dublin County Council bursary Award. Her work has been exhibited both nationally and internationally including CultureLink Festival, Dublin,  Peripheries@Queens University, Belfast, Mesh@BlockT, Dublin, In_flux, Limerick, Expanded Architecture@Performance Space, Sydney, RDS Art Fair 09, Pallas Projects, The Lab, Broadstone XL, Temple Bar Gallery and Studios, Dublin and SC Gallery, Zagreb.

For further details please visit:

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Ruth Le Gear

My work is involved with the nature of trans-disciplinary practice based research. My practice currently revolves around water.

It engages with how a drop of water has the capacity to hold the memory of a substance that has passed through it or been immersed in it. Almost as if it has been locked in an iceberg from the sea to a teardrop.

This concept is explored through different media, sound, photography, video and installation.


Russell Chartier

Russell J. Chartier attended the College of Santa Fe. Since that time he has spent many years working

in Broadcast Television working for various networks including A&E, The History Channel, YES

Network and several others. His work in the Video Art Medium explores multiple layers and focuses

heavily on texture and color. Many of the images in his works are distorted and manipulated in various

unorthodox in an attempt to create a visual depth where recognizable images will appear within the

collage of manipulated images and textures.

Paul J. Botelho

The work of composer Paul J. Botelho focuses on the interaction between live and computer

performance. His compositions include many varied works that utilize extended techniques, alternate

tuning systems, as well as the interaction of new and old mediums. He performs as a vocalist, guitarist,

and pianist, often in improvisatory situations. Botelho has composed and performed a series of one-act

operas that incorporate live acoustic instruments and electronic components. These works encompass

all of his varied disciplines and represent the breadth of his work. He received his Ph.D. in Music

Composition from Princeton University, M.A. in Electro-Acoustic Music from Dartmouth College, and

B.F.A in Contemporary Music Composition and Performance from the College of Santa Fe. He

currently is Assistant Professor of Music Technology at Loyola University New Orleans.


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Rory Tangney

I work in sculpture, sound, light, drawing and more. Along with drawing, my most recent work has been multi-media installation, with sound, light and architectural structure becoming the central concerns. I strive to achieve a level of integration between media which results in a seemingly animate work, a presence which inhabits the viewer’s space, giving both a somatic and an emotional experience. I blur the boundaries between this realm and the Other, between the evident and the ambiguous, the material and the spiritual.


I am interested in what it is to want for a spiritual outlet in a world whose social and economic structures are increasingly designed to provide for our material needs only.

Having only relatively recently emerged from a traditional, devout culture, when a nation like Ireland loses its spiritual structure (even if that structure was as corrupt as it was revealed to be) its people are left in need.

That need, combined with a residual fear which is part of the Catholic Church’s legacy, may be channeled into other dogmas – a religious zeal or conviction, after all, is not exclusive to those who practice religion. Science, for example, is one of the many modes of thought which seems to claim truth as its own.

I examine how, in such disparate places, people see what they perceive as truth. I am interested in the perception of truth and the psychology behind its perception. Faith may not always be the result of aware thought, rather the product of one’s conditioning, while conviction may be the manifestation of one’s fears and insecurities. The strongest of convictions may hide the deepest of fears. The consequences of holding too rigidly to one’s convictions without allowing for other possibilities can be devastating.


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Redmonk aka Killian Redmond is a self-taught visual artist, community art facilitator and independent music promoter. His work includes large-scale community murals, international graffiti battles and customised agricultural machinery. Influences include deep-sea creatures, the things that happen in kitchens at 6AM and music that makes your feet behave in strange ways. He has exhibited and performed throughout Ireland as well as the UK, Italy, Spain, Germany, Chile and Australia.

REDMONK recently showed in  MART @ The Big Picture

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Richard Forrest


View: Artist CV | Artist Portfolio

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.

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Rebecca Kinsey

Rebecca Kinsey is an artist, graphic designer, word-nerd, and occasional pirate based in Byron Bay, Australia. She began her career as a graphic designer, graduating from Sydney Graphics College, followed by an internship at the Powerhouse Museum (Sydney, Australia). Originally a self-taught painter, she has just recently completed a degree in Visual Arts at Southern Cross University, Australia, majoring in painting with minor studies in drawing, screenprinting, papermaking and photography. Recent explorations have seen her moving away from her signature graphic and illustrative narrative style of painting, and into a more process driven multimedia practice. She is currently in residence at The Art Students League of New York’s Vytlacil Campus.

I have begun to use video as a central point in my work, as a tool for documenting, making work and as a medium itself. I am inspired by the beauty and the mundane nature of everday sorts of objects and activities. Lately I have been quite taken with the notion of making art whilst doing such activities. In a way that captures something of an experience without impacting the nature of it too much; walking, driving, reading. I have made whole bodies of work wilst doing these things.My latest work sees me projecting video onto the surfaces upon which I paint and draw. Creating abstract multimedia works using the haptic footage that I have collected on my travels as my source material. I am interested in the collision of digital media and the hand made mark.I am also experimenting with creating video pieces. Or what I call slow moving paintings out of some of my collected video footage, and these are dream like video versions of the paintings I’ve been making.

Website :

Exhibitions list:


2007 i love you… forever, Dolores Cupcake Studio Gallery, Byron Bay NSW Australia

select group

2010 Vytlacil Holiday Show, Elizabeth Sullivan Gallery, The Art Students League of New York, Sparkill NY USA

2010 Resident Open Studio Exhibit, The Art Students League of New York, Sparkill NY USA

2010 petits travaux, Retrospect Galleries, Byron Bay NSW Australia

2010 The Magic Faraway Tree, Retrospect Galleries, Byron Bay NSW

2010 Eastcoasters : Vegas Spray Cross City Experience, Bleeding Heart Gallery, Brisbane QLD

2010 Tandem 10, Space Gallery, North Coast Institute of TAFE Lismore, NSW

2010 Art Melbourne, Retrospect Galleries, Melbourne VIC

2009 petits travaux, Retrospect Galleries, Byron Bay NSW

2009 Art Sydney, Retrospect Galleries, Sydney NSW

2009 Transit 09, Southern Cross University, Lismore NSW

2009 2010 Byron Bay Art Diary Launch Exhibition, Byron Bay NSW

2009 Unknown Landscapes, Next Gallery, Southern Cross University, Lismore NSW

2009 Revolution of Art – Urban Art Exhibition, Retrospect Galleries, Byron Bay NSW

2009 Splendour In The Grass – Live Mural Painting, Byron Bay NSW

2008 12 x 12 art for the tree, Retrospect Galleries, Byron Bay NSW

2008 The Monday Group, Waywood Gallery, Byron Bay NSW

2008 Where Mighty Giants Dwell – Urban Art Exhibition, Retrospect Galleries, Byron Bay NSW

2008 Altered Books, Southern Cross University Library, Lismore NSW

2008 Marine Visions, Retrospect Galleries, Byron Bay NSW

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Rose Mburu

My work lies somewhere between wanting to tell stories and wanting to educate. Im inspired by issues that niggle me like animal cruelty or just personal and delicate stories from places I’ve been and people I’ve met that need to be told in some way. In a small amount of time I hope to communicate an experience or an idea to a spectator so that perhaps they start a discussion.

Rose Mburu graduated from Aberystwyth University with a BA in Performance and Scenography in 2006. In 2009 completed a post-graduate certificate in education in Liverpool John Moors and currently teaches Art at a secondary school in Leeds.

Past Work:

Hospital                                     Film Installation                  2008

Milk Story                                 Installation                           2008

Berlins Box of Dreams             Travelling Installation          2007

Hotel Mozart                             Performance & Media Art    2006

Small Space                              Performance                          2006

Blood Wedding                         Costume Design                   2006

Flight                                        Set Design                             2005

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Peter Sweetman

Peter’s work operates at the convergence between sculpture, theatre and architecture often combining elements of all three in elaborate installations that these out the phenomenological atmospheres of specifically chosen locations.

Peter has previously engaged with a  diverse range of mediums in his work including live performance, video work, and installation as well as producing numerous publications in tandem.

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Paul Hickey

I am inspired primarily by the phenomenon of colour and the dynamic and fluid relationships, which result from infinite combinations. The creation of visual pleasure is a very important element in my work. Attempting a balance between control and chance, I use bold industrial colours, which are often pre-fabricated, in order to achieve a democratic approach towards hue. The work explores colour’s autonomous nature, its effect on our surroundings and its influence on the way we behaveI want my work to have a direct dialogue with its immediate environment as it is often directly defined by the limits of the specific spaces and places it inhabits.

For More Information Please Visit :


Previous Exhibitions:

2010COE ‘10

Claremorris Open Exhibition

Claremorris, Co. Mayo

4-25 September




The Complex Gallery

Smithfield Plaza, Dublin

22July-1 August


Projected Weekends

The Digital Hub

157 Thomas St & Watling St, Dublin

19-21 March


Irish Dimensions

Yi Gallery

Wangsiying St,Beijing



Regaining Consciousness


South Dublin Arts Centre, Dublin

8-20 March



2009Anaesthetic Intervention

Street Art intervention

Dún Laoghaire town, Co Dublin

1-10 October


Preponderance of the Small

Douglas Hyde Gallery 3

Trinity College, Dublin

25 September-31 October


How do you know?

Blankspace Gallery

San Pablo Ave, Oakland, California

6-30 August


Summer show


South Dublin Arts Centre, Dublin

6 July-22 August



Street Art intervention

Dublin City centre

13 March


Street Art intervention

Clarehall, Dublin

20 December


Obsessive Beginnings

Broadstone Studios XL

Upper Dominick St, Dublin

3-6 September



Scratch ‘07’

The chq Building

IFSC, Dublin

12-16 November


Speak the Image

The Pavilion Theatre

Dún Laoghaire town, Co Dublin

15 March-1 April


I use my Easel to Hang my Hat

The Concourse

Dún Laoghaire town, Co Dublin

18-26 January



Oscar De Carmen


Oscar De Carmen / 1980 / lives and works in Cuenca/Gothenburg/Oslo
Oscar De Carmen is a multi-media artist whose work spans performance, installation, video and sound.
In 2003 he founded in Grenada, performance company + Kperdi2 and leaded it as founder, director, producer, cooperative choreography of music and entertainment, which participated in different international festivals of performance, including Festimad 2003 in Madrid, with its award-winning performance, receiving the second prize.
In 2009 he received BA degree in Fine Art from La Laguna University, Spain. He has been visiting student at HIAK, Oslo, Norway, UCLM, Cuenca, Spain and Valand School, Gothenburg, Sweden. Currently is MA student at UCLM, Spain.
From 2005 he works with Martinka Bobrikova. Since then they have been part of several urban Eco-actions, eco-economic interventions and activities undertaken by them in various European countries such as Spain, United Kingdom, Czech Republic, Sweden and Norway and exhibiting in several solo and group shows in Spain, Italy and Sweden.
Their field of work is to investigate and analyze, through the food collected by them in rubbish bins.
They focus their field of action on environmental actions and events organized in the streets in order to prove that that there is a mutual connection between the intolerability of our planet and the food products defined as products subject to spoilage under the quality policies of hypermarkets, supermarkets and groceries, as well as producing energy out of it to make their art sustainable by itself.



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Noel Molloy

Studied Limerick School of Art and Design 1978 – 1982.

Degree in Fine Art 1982. Works in sculpture/mixed media and performance art. He has exhibited and created performance extensively throughout Ireland, Western and Eastern Europe and the U.S.A. Awards include Arts Council of Ireland awards 1991- 2006; Cultural Relations Committee Dept. of Foreign Affairs Travel award 1993, 2003;

Exhibition awards V.E.C. 1999 – 2006; Exhibition awards Roscommon County Council/ Arts Office 1999 – 2006.

Organised ‘Crossroads Symposium ‘95’ 1994-1995.

Organised ‘Arts Cabaret’ numbering 14, 1997 – 2002.

Founder of Working Artists Roscommon 1990 artists group.

Member Visual Artists Ireland; M2 artists group.

Radio producer/presenter of Arts Show Rosfm 94.6 / Roscommon Community Radio.

Works in private and public collections nationally and

internationally. Lives and works in Roscommon Ireland.


Landfillart – Worldwide  Touring Exhibition


The Last Supper Barbecue – Roscommon


Out in the Open – Roscommon


Trade – The Dock, Leitrim, Ireland.

Tulca – Serial Shootings, Galway.

Art @ Work – Roscommon Arts Centre.

Portrait of A  Mastoid – R.A.C. Ireland.


Artist as Traveller, Boyle.


USlive Exhibition, Williamsburg Arts Centre, New York.

New Works, Atrium Gallery Longford.


Art@ Work Roscommon Arts Centre


Celtick Links – Inverness Museum and Art Gallery Scotland.

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Nicholas Garbett

Nicholas completed his Bachelor of Arts degree at Salford University in the summer of 2009, majoring in Conducting and Composition. He has had the opportunity to work with some of the finest Brass musicians and teachers over the past three years including Dr. Howard Evans, Dr, Roy Newsome, Prof. David King and Prof. Peter Graham. Nicholas is continuing his education and development in the area of Composition as he is studying full time to achieve his Master of Arts degree, completion 2011.

Nicholas has performed with the University of Salford Brass Band and Adelphi Brass Band for the past 4 years on various instruments including Eb Tenor Horn, Eb & Bb Bass. He has played numerous concerts and events over the years including visits to the Salvation Army’s Regent Hall Corps Oxford Street London.

Nicholas is one of the founding members of the Adelphi Contemporary Music Group formed by Joe Duddell and Craig Vear in 2008.

Since winning the “Salford City Reds” competition in April 2009, he has featured on both BBC Greater Manchester radio and has also taken part in a TV Interview that featured on Sky Sports News.

As well as composition Nicholas also enjoys arranging for Brass Bands. In summer 2010, Nicholas had the opportunity to arrange a collection of well known show-stopping melodies for the world famous Black Dyke Brass Band, who performed in collaboration with the Halifax Choral Society at the Summer Transatlantic Proms Concert held at the Halifax Victoria Theatre.

Some of my previous Wind Band commissions have included a massed band fanfare for 60+ performers, commissioned by the 150th (Yorkshire) Transport Reigment, Royal Logistics Corps (Volunteers) of the Territorial Army 2009.


Seascapes (2010)

Music for 8 Laptops Nicholas Garbett

Seascapes is a sound installation for 8 laptops. This composition is based upon the poem, “The Rime of the Ancient Mariner” (1797) by Samuel Coleridge Taylor.


This composition is a sound installation that utilises 8 networked laptops. The laptop performers are positioned in a none specific manor around the installation room. It is designed for public listening as the audience can wander freely throughout the installation as the performance is occurring. This is a public listening experience, however I believe that this should also be a personal listening experience as the audience should be able to listen closely to the story as they move, collecting and hoovering up the ambient sounds heard in the background. This ambient sound will give a sense of context and meaning as the sounds of the sea and other linking audio samples linked to keywords in the poem are gently passed across the room. This project is about retelling a story using found audio, retelling the story through the use of technology.

The Poem

The poem tells of ‘the Ancient Mariner’ who recounts his journey to a bridegroom bound to be married. Although, he can hear the wedding bells tolling the bridegroom is drawn in by the Ancient Mariner.

His tale spells woe and misery of a ship laden with crew as it is driven off course by a storm. This forces them to the land of ice. An Albatross leads the crew safely away from this desolate place.

Despite the good fortunes that the bird had brought, the Mariner shoots it dead. The crew members are angry and hang this bird around the Mariners neck as a punishment. The Mariner and crew members encounter a spirit who play with a dice for the souls of the men on board the ship. One by one each crew member dies, but the Ancient Mariner is spared.

As the Mariner is the only living crew member he is forced to pray as he realises the natural beauty of the sea creatures, once referring to them as ‘Slimy things’. The Albatross was lifted from around his neck. The souls of the crew members rose and lead the ship back home. The ship sinks in a whirlpool. The Mariner is thought to be dead, he is rescued from the water; his life spared. As a penance for his crimes he must retell this story for the rest of his life.


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Nicky Teegan

Nicky Teegan was born in 1987 in Ireland and lives and works in London. She holds a BA in Visual Arts Practice from IADT, Dublin (2009) and an MA in Fine art from Chelsea College of Art and Design, London (2012). She is a founding member of Ormond Studios, Dublin. Recent exhibitions include ‘Signal’, Bold Tendencies, London (2013), ‘Open Cube’, White Cube Masons Yard, Lodnon 2013, ‘MA Fine Art Show 2012′, Chelsea College of Art and Design, London (2012); ‘SWITCH/OVER’, Wimbledon Space, Wimbledon College of Art, London (2012) and ‘Invite or Reject’, Chicago Loop Alliance, Chicago, USA (2011).

She has an upcoming solo show in Lewisham Arthouse, London ( Sept 2013), and an upcoming two person show in Tactic, Cork (November 2013).



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Nina Amazing

Nina Amazing creates ongoing narratives and fictional characters as humour-based commentaries on contemporary culture, addressing absurdities including fame, celebrity and social media.

Web site:


Nicky Larkin

Nicky Larkin was born in Birr,Ireland in 1983.  He studied fine art in G.M.I.T Cluain Mhuire – Galway and Chelsea College of Art, London.  His work is located somewhere in the crossover between video-art, documentary and experimental film.

He has exhibited widely across Ireland and the UK, including ev+a 2006, Limerick, e-merge in The Galway Arts Centre, and Catalyst Arts Centre in Belfast.  In 2007 he travelled to the Chernobyl exclusion zone where he shot the experimental short, Pripyat, which has been screened as part of The European Media Art Festival 2008 in Osnabruck, Germany.

He had a solo show in The Belltable Arts Centre, Limerick, in October 2008, based on his trip to Chernobyl.

You can visit Nicky’s Website here:


The city of Pripyat was once considered the finest place to live in the whole of the Soviet Union.  A thoroughly modern city, it was built in 1970 to house the workers of the new Chernobyl nuclear power-plant and their families, and was once a happy home to 50,000 people.  In the aftermath of the accident in April 1986, the residents were instructed to pack one suitcase and told they would be returning in three days.  One thousand buses were drafted in from all across the Soviet Union to take the residents of Pripyat out of their now highly contaminated home.  They never returned.  21 years later Pripyat stands empty, a ghost town deep within the exclusion zone, the last remaining Soviet city.  This haunting experimental film by Irish artist Nicky Larkin takes you inside Pripyat and examines the relationship between time, nature and culture, in a city that will never be lived in again.

Directed by Nicky Larkin

Running Time: 16 minutes

Selected for The European Media Art Festival 2008, Osnabruck, Germany


Sink Systems was my end of year piece for the postgraduate show in Chelsea College of Art in August 2007.  It was a continuation of my exploration of the grim urban environment, and how it effects and shapes the mentalities of the people it contains.  It was displayed as a five screen installation, on five separate monitors, and also as five separate projections.

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Neasa O'Grady

Belief has always been a subject that interested me. I have always been a doubting Thomas and at the same time I have always felt jealousy for those who believed, unfailingly and without question.  I imagine there is comfort to be taken not only from faith but also but also from the ritual. I believe that ritualizing something gives it weight and importance, the same way as exploring something through art. Both acts ask you to dwell on something. The shrines that I have created act as both protector of burgeoning faiths and releasers of failing beliefs.

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Nabi Nara

Nabi Nara is a multi-disciplinary artist who worked nomadically, and has chosen her base in Berlin. She works in interactive, processual performance, installation and wearable sculpture.

Her interactive performances offer a provocative exploration of their immediate environment and the sense of identity. She often works with fashion related materials and themes, using lo-fi tactics to interrogate representation.

She presented her works in Haus der Kulturen der Welt and The Freies Museum in Berlin, in the Frauen Museum in Bonn, in Instants Video Poetique, France, in The Second Avenue Firehouse Gallery of New York, in the Wolstenholme Creative Space in Liverpool and in Forumschloßplatz, Switzerland. She has taken the grants from DAAD Germany, Chateau Mercier Foundation, Switzerland.

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Moya Clarken

Moya Clarken is a Dublin based artist and recent graduate of the Institute of Art Design and Technology, Dun Laoghaire.

Her work deals with ideas of the absurd.  She is interested in how these can be found in familiar, even monotonous, objects and actions.  She seeks to isolate these observations and represent them in amusing, unexpected ways.

Her practice is based in drawing, video, sound and kinetic sculpture, elements of which are combined into installation pieces.

For more information and images please visit

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Molly O'Dwyer

Artists Biography

Molly O’Dwyer (b.1980) is a visual artist from Dublin, she has just completed a two year research Masters in Fine Art at the National College of Art & Design, Dublin. Her work is critically aclaimed and has been shown both nationally and internationally, amongst these include EV+A 2007 Limerick, HOUSE projects and CEAD in China. She was awarded one of the Young Emerging Artists in Ireland following work from her degree show which she also received first class honours from Dublin Institute of Technology in 2006.

Artists Statement

Interdisciplinary in nature, my practice employs the use of mediums such as video, sculpture and installation, focusing strongly on the moving image within the context of contemporary art.

Research concerns explored through these mediums revolve around an interest in the human condition and its interaction with living space and everyday life, challenging the behavioural codes by which we live. The boundary between public and private is examined through exploring these concerns as an analogous parallel to the physical and the psychological, the body being our primary experience of the world from the corporeal to the mental. In performing for the camera, everyday objects and familiar landscapes act as both material and prop for the exploration of this terrain that exists between these two inseparable forms of reality, as central to our perception of the world both internally and externally.

Pathos and the tragicomic implicate the viewer on a psychological and emotional level through the use of simple bodily gestures with elements of order and chaos through absurd actions performed for the camera. Aspects of popular culture and the cinematic are referenced in the work through a merging and co-existence of fiction and reality. My practice draws interests from film theory and the role of media in society asserting the use of the video camera as core medium for the exploration of the issues in the work.



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Michelle Hall


My practice combines new and old media. Most recently I have produced low-tech animations employing the use of photography, drawing and other materials. Relevant everyday objects become props: t-bags, masking tape and old spectacles. These pieces exist as looped sequences essential for the communication of their subject matter.

My work portrays idealistic applications of, and gestures symbolizing, fixtures and cures. The environments created use imagined remedies for distressful psychological processes. Quick-fix mending leads to eventual unravelling in an exploration of healing contrasted with “covering-up”.

The techniques I use produce tones influenced by printing processes of the past: dated and weathered like old photographs and printed images. This, along with the repetitive nature of each piece, suggests that the stories told are locked in a past cycle.


Recent exhibitions:

Projector the LAB Dublin

Mental Image Project Ability Glasgow

Artisit? Galway

Stick a Fork in Me I’m Done D.I.T. Graduate Exhibition 2007





Mary Dempsey

Mary Dempsey is an interdisciplinary artist, living in Galway. Her voice/audio installation,What Happened, was selected for the arts council Touring experiment 2007. Mary’s Video installation ‘Through The Eye of the Alpha’ was in The Catalyst Arts Centre Belfast Jan 2008; G126, Galway, Feb 2008.

The Audio Installation ‘Residue of the Word’, featured at Excursions, Limerick Perfomance Festival January 2008 and at ‘Art is not Mute’, The Ersta Konsthall Sound Archive Exhibition Gothenburg, Sweden & MART Launch, Silke’s Warehouse, Galway.

Statistics, a black and white film with improvised music and sound effects was programmed with Darklight films on Tour by ENSO for the Galway 06 Project.

Mary Dempsey has been short-listed for a number of poetry awards. She has given readings in Italy and France as part of a European interdisciplinary arts initiative to promote adult education.

MART, Galway Arts Festival 2008, Despatches, film installation with improvised music (used colour reversal film technique, telecined to video).
MART Galway Arts Festival 2009 Sound Waves in the Waterworks, sound/audio installation, site specific, the bathroom of an 18th century thatched cottage on Henry Street, Galway city. referenced Joyce’s use of water sound effects in Ulysses ‘pick, pack, pock, puck’.



Martinka Bobrikova

MARTINKA BOBRIKOVA / 1985 / lives and works in Oslo/Gothenburg/Bratislava

Martinka Bobrikova is a multi-media artist whose work spans performance, installation, video and sound.

In 2006 she received BA degree in Scenography from Academy of Fine Art in rome, Italy and two years later received Ba degree in Fine Art from La Laguna University, Spain. She has been visiting student at HIAK, Oslo, Norway, CAA, Hangzhou, China and Valand School, Gothenburg, Sweden. Currently is MA student at UCLM, Spain.

From 2005 she works with Oscar De Carmen. Since then they have been part of several urban Eco-actions, eco-economic interventions and activities undertaken by them in various European countries such as Spain, United Kingdom, Czech Republic, Sweden and Norway and exhibiting in several solo and group shows in Spain, Italy and Sweden.

Their field of work is to investigate and analyze, through the food collected by them in rubbish bins.

They focus their field of action on environmental actions and events organized in the streets in order to prove that that there is a mutual connection between the intolerability of our planet and the food products defined as products subject to spoilage under the quality policies of hypermarkets, supermarkets and groceries, as well as producing energy out of it to make their art sustainable by itself.




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Margaret O'Brien


View: Artist CV | Artist Portfolio

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


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Marian Araujo

The Myth and The Flesh. – A solo performance by Marián Araújo

A woman weaving a trail that leads her through the many doors of her inescapable memory. As she fleshes out her myth to reveal other selves, she invokes and confronts a sensuous innocent, a woman in the still pain of adulthood and an ancient pilgrim all bound by the touch of an impossible love for one that cannot be counted.

Dramaturgy by Marián Araújo from texts by Jeffrey Gormley, Paul Celan, The Song of Songs, Apocrypha texts, Julio Cortazar, Kahlil Gibran, Margarite Yourcenar and T.S. Eliot. Traditional Sefardi, Cuban and Spanish songs.

Photography by: Paul Regan


Malina Cailean

My work can be characterized as self-portrait in a very broad sense. Through different personal themes I encapsulate my daily life experiences and my encounters. I work in a very interdisciplinary way where I combine sculpture, video, painting, drawing, light, sound, found objects, collage or any other medium. I like abstracting still life elements and fuse them with portraits and to work from imagination in combination  with what environs me. I usually create many variations of each subject, exploring mutations.

I like very much Dieter Roth’s recipe for an off hand book as I see many similarities between this strategy and my artistic process:

“go to a place

(be invited for instance)

have impressions there

take things from the places where you have impressions

(take really or mentally)

bulbs from lamps,

candy from stores,

symbols from visions in dreams

symbols from visions in places

colors from clothes

[…] “


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Lydia Holmes

Born 1985 in Tandragee, Northern Ireland, Lydia Holmes studied at the University of Ulster, graduating in 2010 with a First Class BA Honours degree in Fine Art. Holmes is a multi-disciplinary artist who exploits the full range of possibilities offered by sculpture, drawing and painting.

In 2010, she won a special invitation by the Royal Ulster Academy to show at the Ulster Museum annual exhibition. Over the past two years, Holmes has shown throughout Ireland and the UK, with her first solo exhibition winning much critical acclaim at Queen Street Studios Gallery in 2011. Holmes has also been selected for many significant group shows in Ireland at the Golden Thread Gallery, Ormeau Baths Gallery and Galway Arts Centre. In Scotland, she has exhibited with the Transmission Gallery (Glasgow) and the Embassy Gallery (Edinburgh). Shows in England have included exhibitions at The Royal Standard (Liverpool) and The Others (London).

Holmes explores the tension between social and political subjects and fuses these with aesthetic and formal concerns. Inspired by the ‘Futurist landscape’ imagined by members of the Futurist movement (1909-1944) she makes oblique references to Filippo Tommasso Marinetti (1909-1944) and the movement’s connections to Fascism. Her work parodies the irrational ideals of the Futurist’s visual language and the Fascist statements in their manifestos. But this artist also takes an unapologetically contemporary perspective that teases delightedly with today’s scientific and technological advancements.

Holmes invites the viewer into her strange world, populated by hybrid animals and living machines. This is a world that exists somewhere between the one we know and one that is just out of our reach. It manages to be simultaneously unfamiliar yet compellingly similar to our own. Holmes combines and confronts found or manufactured objects or imagery, forcing them into a polyvalent dialogue in the surrounding space. Her work is concerned with looking at the future fearlessly in the eye, and at other times showing anxiety and perplexity for the unknown whilst alluding to the uncertainty and sense of enquiry aroused by contemporary art.


Weblinks of recent reviews:

February 2012      Jamison, Brendan.

October 2011          McCormack, Ailve.

August 2011           Moore, T. The Future is Weird in Lydia Holmes’ World

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Lorraine Neeson

Lorraine Neeson works with lens based media, video installation, sound and architectural intervention to explore themes such as the Uncanny in Architecture, the relationship between light and darkness, the visible and the invisible, while challenging the viewer’s perception and experience of space–time parameters within these contexts. Physical and psychological navigation of space is manipulated through intervention and exploitation within the architectural, photographic, projected and filmic frame. The interaction between anticipation, expectation and perception is explored. The experience is heightened and enhanced by such factors as the treatment of light and darkness, the utilization of sound or lack thereof and the manipulation of hidden and undisclosed information. Inherent in the exploration, is the potential for the work to extend beyond the parameters of the projected, photographic and architectural frame and outside the realm of the visible, while simultaneously creating a sense of destabilization and disorientation within the environment. A fundamental theme is the literal, metaphorical and paradoxical treatment of light and darkness and the simultaneous representation of conflicting states of revelation and obliteration.


Louise Marlborough & Olive Barrett

Olive Barrett is a mixed media artist from Tipperary and is based in Dublin.  Olive graduated from the National College of Art and Design in 2006 with a Higher Diploma in Art and Design Education and previously in 1998 specialising in Printed Textiles. Previous work has included painting, print, photography, textile, video and projection.  There is a strong experimental and expressive quality to the work which deals with everyday occurances and feelings to life in general.  Often it is the emotions and reactions to the habitual and familiar in ones life and the human response and questioning process to various stimuli and issues that hold the artists attention.

Louise Marlborough was born in Dublin in 1976. She graduated from the National College of Art and Design, Dublin with an Honours Degree in Fine Art, Sculpture. In 2000 she completed a Certificate in Professional Photographic Practice at the London College of Printing. In 1999 Marlborough was granted two awards from the Arts Council in Ireland. One was an equipment award and the other was a travel award which allowed her to travel to the US and undertake and complete a photographic project.

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Lisa O'Donnell

Lisa O’Donnell was born in Galway in 1986. She graduated from GMIT in Galway in 2010 with a first class honours degree in Fine Art. She is currently based in London and is studying for her MA Fine Art in Central Saint Martins College of Art and Design. Recent exhibitions include CSM MA Interim show in V22, Bermondsey, London, Female Irish Artists at Five Years Gallery, Hackney, London and Manifest at Kinsale Arts Festival 2011, Cork.

Her practice revolves predominantly around painting, however she often makes work in other mediums including, video animation and photography. It is with a painters frame of mind that she approaches other formats and she sees her video animations as an extension of the paintings.

Her process includes to some extent the process of circulation where source imagery is filtered though mediums including film and photography. The filtration adds layers of distance between the viewer and the scene depicted. Her choice of imagery has not been geared towards the spectacular but more towards an image that has a sense of ambiguity that can be transferred into a new work. She is drawn to enigmatic scenes where her interpretation is the starting point for the viewer to make their own conclusions. Most of the works act not as individual pieces but as part of a hybrid.

The Polaroid offers a filter for issues and personal interests. It is a cultural artifact that is for the artist, a filter of images that aesthetically as well as metaphorically reminds her of a different time.


Lisa-Marie Johnson

Lisa-Marie Johnson, is an artist based in Dublin originally from Co. Carlow, Ireland. She works in video, installation, performance and participatory practice. She is currently researching a masters at Ncad in sculpture. She has shown a new piece of work, ‘Human error’, as part of afoundation, Liverpool biennial , november 08, and as part of live 8 Galway 08, Curated by Vivienne Dick. Invited by Pj Brady and Beal, Cork to read from her works Jan 09. Selected to show film /video work as part of Social forum Irish Exhibtion, Brazil o9. She was invited to perform as part of the Mermaid arts centre ‘Terms and Conditions’ 07, curated by Pauline Cummins She has shown her work in fringe festival Dublin 02, 03, 05, nominated for the best fringe show 2002. She has shown her work in Eigse 06 and Eva 06, Her work was reviewed on Rte news, her work was about post-natal depression , It was then reviewed on Rte’s Nationwide april 06, She has performed ,curated and organised events with artist Seamus Nolan , for Hotelballymun 07.

She performed in Tulca performance festival 2006, 2007. She performed at Harburg-Hamburg museum of modern art 2006, She is designing a book from her work with artists in London. She is collaborating on a new work with film-maker Vivienne Dick . She has been selected to show anonomom in Wharf Holland sep 08, She was selected by Common Ground for a studio Residency, Dublin, 08.

She has been selected to represent her work in Slovenia in Summer 08. She collaborated with artist Marina De Silva De silva -Brazil and created an image and performance work – EXPORT

She has recieved burasaries from the Arts Council Ireland for her work, The Carlow Arts award 07 & 08.

Her work is powerful, a real punch in the stomach: Katrina Gregos, International Curator.

My work considers the notion of public space how we as inhabitants of our dwellings consider consumerism,it carries conditions like a human condition, a very real facilitation of a new island or state belonging, space and site has the ability to be transformed into an urban natural, in that, it can be looked at, it can be thought about and understood, it can even be traded as cultural capital, it can be experienced in all these ways and yet also realised it is residues of a homeland , my home my land .This work is to do with social change and how we evolve in an urbanised context .While also questioning a form of public art, what public are we affecting and how much and how does live art deal with this direct public response /relationship.

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Lindsay Tunkl

Lindsay Tunkl’s work focuses on concepts such as identity, memory and trauma. By drawing from her own life experiences she uses video, photography and live performance to navigate the universality of human experience. Tunkl graduated from CalArts with a BFA in 2010. Her work has been shown in galleries in Los Angeles, CA and Olympia, WA. She is also the founder of The Olympia Arts Perspective.

Tunkl is currently residing in Berlin, Germany.

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Laura O'Connor

In my work I explore the boundaries between public and private. I am interested in the rituals and routines women undertake in order to be seen in certain ways. The idea of beauty and the methods of achieving this idea; what goes on behind closed doors; the secret things we do in order to enhance our image and make ourselves more desireable. My work draws from cinema, TV and advertising and how women are portrayed within these realms.

The work also deals with female sexuality and how the media sexualises women and uses them as objects to be looked at. I feel this endorsement by media to present women in such a way is affecting how society think about image and are influenced to conform to certain stereotypes. The aim with my work is to use this media style of presentation to show obscured images of women in the process of image alteration. In the past I have used hair and images of hair dying to show this. In my current practise I am focused on exploring all aspects of the ‘beauty process’.  The use of mirroring and reflecting has always been a part of my video work, I feel the mirror is a very loaded object and represents the self/other theme in my work.

I am currently undertaking an Masters in Fine Art in the University of Ulster.

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Laura McMorrow

I have been exploring the interface between video and sculpture by making structures to present video as a dynamic 3D object with a physical quality that mimics the context of the video. There is a sci-fi element to my work. Styrofoam rocks tumble weightlessly along the ground, crystals are formed from jelly, and bitumen bubbles.

Laura McMorrow has recently graduated from a Masters of Fine Art in the University of Ulster. and is based in Flax Art Studios in Belfast.


Kelly O'Connor

Kelly O’Connor is a Dublin based visual artist working in video installation, photography, and drawing. In 2002, she completed a design course at D.I.T. where she worked in 3D forms and fabrics. She then studied in Dun Laoghaire Institute of Art, Design and Technology, graduating from the BA Honours in Fine Art in 2006 with first class honours in video and sound.

She has exhibited nationally and Internationlly over the last number of years, including in Bangkok in a video show selected by PCP, Tulca in Galway, Eigse in Carlow, Mermaid Arts Centre in Bray, Weather Permitting in various locations around the country and a solo show at The Red Stables in Dublin.

O’Connor’s practice involves video, photography and drawing which are used separate to each other to develop individual areas within a project.  She often uses the video camera as a tool of discovery, allowing it to create by chance and exploration.  There is a touch of Romanticism in her photographs, capturing arbitrary arrangement and situations. The themes present throughout a lot of the work include games, loss, place and ritual.

She is also a member of the Art Collective Moxie Dublin.


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Klaus Pinter

Website links:

Bio / Statement:

University of the Arts Linz

Lives and works in Vienna


Klaus Pinter’s artistic approach is as distinctive, unusual and extravagant as his installations, which, for more than forty years, have been floating free of passing fashions with fluidity, plasticity, lightness and humour – borne along by the aesthetic currents of the time, but immune to their attraction.

In founding the Haus-Rucker&Co group in Vienna with two architects, Pinter placed himself on the margins of art’s pure forms and autonomous works. He was a precursor of the “installation”, in other words the placing of a work in a given situation or context (even if virtual). Right from his first “pneumatic” structures, the inventor in him was inspired, if not assimilated, by the poet. And throughout his career he has carried on in this vein with consistency and rigour, in forms and modalities that are continually renewed. The “pneumatic” nature of his installations is actually to be taken in an etymological sense, as referring to a vital breath, a soul; and not just because they are infused with an ideational process, but because they overfly (and sometimes collide with) history and culture. These ephemeral installations, real or utopian, are ephemerides of modernity that are in dialogue with the past.

Collision Berlin-Centre, 2005, was a large, semi-translucent sphere that levitated in an apse of Berlin’s oldest baroque church, the Parochialkirche, which the ravages of time have robbed of its stucco decor, leaving it looking like a Romanesque construction. The big bubble reflected light and echoed the sobriety of the place, but contrasted, in its delicacy, with the weightiness of the stone and its charge of history.

La Conquête de l’air, 2006, which was created on the occasion of the Mozart year in Vienna, marked a change of register and tone. Besides the composer’s aerial lightness, Pinter was celebrating the century of the Enlightenment and the facetious folly of rococo. In the courtyard of the Albertina he installed a transparent inflatable structure whose form suggested a hot-air balloon, alluding to the fact that Mozart’s lifetime, which saw culture attaining an unprecedented level of refinement, corresponded to the period when industrial civilisation was taking off, and when humans were able, for the first time, to overcome terrestrial gravity. The captive balloon, with its elegance and crystalline purity, was arrayed in burlesque elements – chairs and decorative gilded fragments that produced an effect of asteroidal dust.

And one will also, no doubt, recall the imposing Rebonds installation that Pinter created in Paris in 2002 for the severe, majestic setting of the Panthéon. Into this frozen temple of the Republic, designed by Soufflot and completed by Quatremère de Quiny, which honours Great Men and materialises in marble the aesthetic canons of neoclassicism, he introduced the mischievousness of mannerism. His gigantic pneumatic sculpture, mounted on a helical armature, and placed in the centre of the nave, reproduced the decoration of the building’s concave vault in a convex anamorphosis. Illusionist reflection or historical rebound?

Rotor, 2007, is a sort of “bachelor machine” designed for the Pièce Unique gallery in Rue Jacques Callot. Unlike Pinter’s previous installations, it does not occupy an historical setting, but has surreptitiously insinuated itself into this enclosed space like an unidentified flying object made up of four different-sized spheres in virtual rotation round an oblique axis.

The mechanical appearance of the work, the precision of its design and the rigour of its execution confer on it an industrial character reminiscent of a machine tool. But its pneumatic envelope, carefully folded, gives it a playful aspect that suggests a huge spinning top in precarious equilibrium, surmounted by a condom. Is it a rotating propeller, a giant dragonfly from some other place and time, an alien’s parachute or a model for a new tower of Pisa, soon to be constructed in Shanghai or Dubai? Hard to tell. In fact this non-identifiable object is more likely to make one think of the first flying machine dreamt up by Leonardo da Vinci. Or one might be reminded of the helical perspex sculptures made by the brothers Gabo and Pevsner, though there is something wild and baroque about it that is a long way from constructivist austerity.

What is disconcerting, but also fascinating, about Pinter’s work, and what underlies his originality, is the exactitude that is the mark of the engineer or the architect, combined with the imagination of a poet and a penchant for derision.

All things considered, Klaus Pinter is not so much an extraterrestrial artist as a volatile synthesis of Jean Baudrillard, Professor Calculus and Alfred Jarry.

Yves Kobry

(Translated by John Doherty)

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Kathy O'Leary

Kathy O’ Leary || 2012

My work reflects how I collect and collate objects/imagery and how my perception alters my unique perspective.

I examine colour, form, and line, that are abstracted, often sculptural layers.

These layers help me to metaphorically, conceptualise ideas and create reflections on the ever-changing world of culture, society and technology.

By utilizing the abstract space between my body and the environment to create a unique perspective and pliable structure for intuition and opportunity.

These have become my methods for navigating the blurry terrain of memory and imagination, reflecting my viewpoint of the world.

I trace and retrace, drawing from maps, retracing my path through them.  Mapping serves as a metaphor for searching, an implication of the unknown in wide, open spaces, paralleled with my personal confines, exploring these spaces in my research methodologies.

Moments captured while ‘on route’ have been a continual process in my practice as I tend to be constantly on the go. These photos record a ‘time and place’, moments of alienation, experiences of public art, monumentalism, reactions to industrialisation and the environment.

The questioning of ‘The Ethics’ through insignificant and significant moments of time. Shared experiences of intimacy, simulating the brilliance and possibilities of nature in all it’s beauty through the ritual of daily processes.

The images become a metaphor as a process of development and the sharing of my practice.  A type of incubation period for my practice, of fertility, growth, birthing and to display the fragility of life itself.

By examining how we look after our environments, creating playful curiosities and speculating concepts of ‘Nature going down the plug hole’. This accumulates fragments of history and representation. Juxtaposing the indoors with the outdoors, this creates a visual metaphorphosis as an opportunity to construct, deconstruct, condense, fix, reedit and reexamine.

My practice is a transformation in breaking boundaries and borders of personal and physical constraints through the environment, society and technology, producing visual reactions with the existence of being a Visual-Artist.



2012-2013    MA Art in the Contemporary World, N.C.A.D., Dublin

2000-2005 *B.F.A. (Hons.), Institute of Technology, Sligo



(B.1977), West Cork, Ireland.

2012 upcoming

Exhibition at The Working Artist Studio, West Cork, Ireland

KRF:2 Artist Notebook Project exhibition Riverbank Arts Centre, Kildare, 12th- 27th October 2012

Kathy curated the project ‘Ceiliúradh’ in March 2012, a memorial exhibition of Artist’s in the Northwest, Leitrim Sculpture Centre, Manorhamilton, Co. Leitrim

Recent projects include;


Mentoring programme with Ruth le Gear through the FireStation Artists Studios, Arts and Disability Ireland

‘The Ethics’ by Spinoza, Mondial live reading performance in collaboration with Job Koelewijn at the Leitrim Sculpture Centre, Leitrim, Ireland.

2010. ‘Screening and dialogue’ at the Firestation Artists’ Studios, Dublin, Ireland,

Recent exhibitions include;


Group shows at ‘Newcastle Artists Society’s’, CityBase, Moseley Street, Newcastle City Centre, Uk,

Members exhibition, The West Cork Arts Centre, Skibbereen, Co. Cork, Ireland


‘Liminality; Difference Views/Viewing Difference’, SCIE Org, London, UK

The Sketchbook project, Arthouse, NY, touring exhibition in Brooklyn, NY, Austin, TX, San Francisco, CA Portland, ME Atlanta, GA Chicago, IL Washington, DC Winter Park, FL, 2011

‘The Peace Project’ with The Whole 9, exhibiting in New York and Gallery 9 in Los Angelos and San Francisco


Adf Gallery Belfast, Northern Ireland


OPEN CALL, ‘Impossible Exchange’, PS1, Frieze Art Fair, London, Uk


The Model, Sligo

She has been resident artist with her studio at the Leitrim Sculpture Centre, LSC. Her work is held both in private and public collections nationally and internationally.


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Katherine Nolan


View: Artist CV | Artist Bio

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


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Jonathan Mayhew

We ask Google more and more questions everyday. It has replaced philosophy and religion as the place to ask things, questions that are answered for us but also by us. Google collects and collates images and information and lets us accesses it through words and questions and recently images. The information held there is based on collective knowledge as opposed to a book which usually only has one author. But how do we know that the information we are receiving is right or not?

I am interested in various counter cultures from Hippies, Goths, Satanists, to Magick and Spiritualism. I’m not sure why some these movements still resonate with me? History seems to feel more condensed as times, ideas, movements and styles begin to blur together. Is it because we haven’t had anything comparable in very recent times?

Or is it that we now have much more information available to us via the Internet? Now I can read a rare book by Aleister Crowley and at the same time keep up to date with Lindsay Lohan’s latest hi-jinx, there is no obvious point to where these two people would meet as they exist in different times but the internet allows us to see what happens when they do.

My work recently uses various media for creation, which is turned into either digital prints, video or sound works. Material is mainly collected from the Internet, screen-grabs, jpegs, eBay, mp3 and mp4 files are all use as material along with traditional research through books and searching for objects. The slippage involved in processing these images and files is part of the process, cropped and reworked; mp3 and mp4 files are chopped and corrupted removing them further from their original meaning allowing them to become part of my own world.

Jonathan Mayhew born in Dublin 1981. Received an MFA and a BA in Fine Art from the National College of Art & Design 2007, 2005 respectively. He has exhibited in Europe and across Ireland. From 2007-2008 he ran One Gallery in Dublin and between 2008-2009 he was an advisor to Monster Truck Gallery. His practice engages with ideas about consumer and media society, sub cultures and various other forms that exist on the edges of society. He has shown through out Ireland and Europe and is in many private and public collections.

Upcoming  Exhibitions

Group Shows

2013 Two man show, 2nd March – 28th march, Ballina Arts Centre,

2012 ‘Socio-Fi 2 (Fail)’, Dublin, date TBA,

Solo Shows

2012 ‘Yet to be Titled’, 8th-15th Oct, The Drawing Project, Dún Laoghaire

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John Murphy

I’m always moving, making maps while I go, maps of the past, present and the future, maps of people and places, maps of connections and experiences, between sound and image, of ideologies old and new. Moving freely between zones of knowledge and non knowledge, as the dead in the memory of Austerlitz.

My work often uses the metaphor of mobility/movement and through the use of various media including Video/Sound/Photography and New Media my work addresses the world we live in, and how history, memory, migration, identity and place influence how we process the information received through modern mobile recording devices and the aesthetic qualities of cross-media relationships.


John Conway

A native of Galway city John Conway left for Ballyfermot, Dublin to study film production. Since then he has returned to Galway to work on various theater, television and short film productions before leaving for Canada and beyond to advance his career.

“Galway is where i plan to lay my hat “


Joe Hambleton

Born is Windsor Ontario, Joe Hambleton is now an emerging artist based in Toronto. He is a graduate of the University of Windsor where he received his BFA in visual arts, and York University where he received his MFA in visual arts. He creates video installations to explore how the medium can be used as a narrative device for the autobiography. His work has been shown in North America, Europe and Asia. He is represented by Pari Nadimi Gallery in Toronto.

Statement for “Days of Future Past”:

Trapped in a rut. Unable to say what I wish to say. I look to Burroughs for an answer. Video is cut up, randomly selected and interwoven with objects from my travels. My process is changed, memories are stirred. Visions of the future appear, a narrative forms. My fears and insecurity about the future come to fruition through an understanding of the past. Together they create a realization of my present. These are my Days of Future Past.

Days of Future Past is an experimental video work that utilizes the technique described above in an attempt to alter my process of filmmaking. Multiple scenes were shot across Windsor and Detroit and then randomly selected and organized, creating the structure and tone of the narrative in the process. During this time, I also began to pick up any objects that had the potential to stir up memories. I decided to impose these objects onto the original footage and to use them as a reference point in each scene’s narrative. Through this process, a realization of the present became strongly apparent within the work.
Artist Statment:
I create video installations to explore the autobiography and the narrative potential of new media. By juxtaposing narrative devices found in other media such as comic books, videogames and music, I am progressively creating a narrative structure that reflects my past, personality and influences. Influence is an important part of my autobiography. I grew up in Windsor, a border city of Detroit where I was constantly surrounded by American media. Their portrayal of the world was much darker and dramatic then the world I lived in, creating an environment of constant conflict and excitement. By revisiting my childhood misinterpretations through humour, I can gradually pose questions to the audience about my upbringing while connecting my experience to their own. It is in this connection where I find my purpose for making autobiographical work, allowing me to develop new relations in order to gain a further understanding of how I came to be.

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Joas Sebastian Nebe

As Nebe explores the psychotic imprisonments of the mind, brought about by an age in which simulation and simultaneity leave us with little sense of time nor of space, and even less sense of the body, hope for the alleviation of the self dwindles. Nebe’s game of silhouettes turns into a frightening sanctuary. Thus Nebe brings to mind what it means to have traded your body for the shadow, or as Baudrillard put it: “We have all lost our real shadows, we no longer speak to them and our bodies have left with them”. Is there any other exit strategy but to unplug ourselves from the wires that promise an “augmented reality”, to break away from the incessant mirror stages of our multiple identities which are no more than shades in a game, in which it is all about exorcizing the “I” and about the obsession to gain control over “1”s and “0”? Is there such a thing as a “place of safety” or a sheltering moment of inertness? (“The Crushing Shadow” by Rebecca Schoensee, Humanize Magazine, issue #8, pg 44-61)


Nebe, who holds degrees in psychology and literature, is a self taught artist, born in Hamburg but now located in Berlin. The different shades he conjures up haven’t gone unnoticed in the art world, and seem to be on the rise. Paintings of his, touching on the topic of ritual sacrifice are part of the Joop van den Ende Collection in Hamburg and “Philosophical Cartoons” is part of the Collection of DIAF ( = Deutsches Institut für Animationsfilm). Important exhibitis include Intrude Art and Life at the Museum of Modern Art in Shanghai in 2008, where Santiago Capriccio, a short epilogue to the Philosophical Cartoon cycle, playing upon the “4th Dimension” Video was chosen to be one out of 100 non-Chinese artists to be displayed on public video screens in Shanghai. In the same year, the film was shown at the Edinburgh Art Festival. “Climate Change Cartoons”was part of the exhibition “Letters from the Sky” which accopagned the Durban UN conference on Climate Change 2011 in South Africa.



Shooting Gallery (3 channel video, HDV, color, 2013, 4m46s, 30s excerpt).

Intro film:
3 channel video installation

The Pelican is the sacred bird of uncounted bird sanctuaries and main character of several tales about marvellous incidents. Especially the white pelican makes the bird watcher feel observing a holy bird.
Here endless numbers of pelicans travel over 3 screen walls, rising from the sea level and finally entering the endless blue sky of the Southern hemisphere after almost approaching the ground.

What does this movement mean? Is it a divination of upcoming evil? Or does it reveal a brilliant future?

Work intro:

Gaming into Mindfulness
Interview with Joas Nebe by Rebecca Schoensee (excerpt)

“It’s a never-ending game of disintegration. I challenge the viewer by not living up to his or her expectations. I am denying the satisfaction of solving the riddle, hidden within the depth of my artwork.” By turning his filmic cabinet of curiosity into an intriguing jigsaw puzzle of hybrid geometric patterns, Joas Nebe teases the viewer into accessing his game. He believes: “Riddle games of this kind spark creativity and pass on the role of the artist to the viewer.”

Taking the Reason Prisoner

To Nebe, “fantasy and creative intelligence are important survival skills today.” So is chess, an analogy he keeps referring to: “Chess exemplifies my game with the viewer. In a world of shortening attention spans, it’s an ideal concentration-practice. One always has to think a few steps in advance.” By screening the insanity of our daily chase towards evolutionary bankruptcy, Nebe in a clever move takes the reason prisoner, only to appoint reason to be the king of his game of chess. He calls for a close review of the encyclopedia of our philosophical and cultural foundations. In his opinion reason has the potential to direct a path away from the horror vacui he is depicting: “The model of enlightenment has increasingly been discredited, wrongfully I believe. Today survival and coexistence are only possible if governed by the faculty of reason. Labeling and connoting intellectual categories help to bring new relations into sight and to gain unexpected terms of knowledge.”

The interview essay “Gaming Into Mindfulness” has been published in Humanize Magazine, issue 11, p. 20-31.
complete interview text


Joan Healy


Cyberskin (2 Stage Transfer Drawing) , Artbots, Science Gallery, Dublin (2008)

I have done a number of performances where I try to use parts of my body to simulate the tasks of machines. My performances compare my own ability at performing tasks that are easy for the most rudimentary of computer drawing programmes or the most archaic of musical instruments.  They comment on our master-slave relationship with technology by trying to provoke the audience to identify with me as an ‘other’, as a machine who functions purely for the pleasure of its owner.

Many ‘New Media’ artworks promote an ideology that celebrates a wonderful world of technological progress and creativity; a future where machines and artificial intelligence can help human civilisation to overcome physical hardship and provide more leisure time, entertainment, easier communication and a higher quality of life.  My work is a reaction to this utopian view, because it is one that hypocritically ignores the dark reality behind the production of electronic goods.

Like robots, these labourers subsist by doing jobs that are repetitive and intellectually unsatisfying, and even work in conditions that drastically compromise their health; all to supply the consumer market with new electronic gadgets.  Cyberskin (2 Stage Transfer Drawing) was based upon the seminal performance work 2 Stage Transfer Drawing-advancing to a future state, (1972) by Dennis Oppenheim. In this piece he communicates to his daughter through drawing a picture with his finger onto her back. A metaphor for how she is a part copy of his DNA and a future version of himself; his movements are mimicked through her as she draws what she feels onto the wall in front.

Cyberskin (2 Stage Transfer Drawing) , Filmbase, Dublin (2007)

In my version of 2 stage transfer drawing, I pretend that my back is a computer drawing pad interface, made from cloned skin and nerve cells harvested from humans.  I try to dupe the

public into thinking that I am a new futuristic communication technology, that can somehow convert touch into digital information and display it on a computer screen.
The media controversies surrounding the Vacanti Earmouse and Dolly the cloned sheep have already exposed most people to the concept of bio-engineering, sparking outrage from animal rights groups and enflaming the ethical debate about the right of humans to interfere with nature through DNA manipulation. I wanted to see how the audience would react if I promoted my work as a real ‘cyborg’; a concept more akin to science fiction movies such as Bladerunner than to current scientific reality.
Don’t Play With Your Hair, Bergen Kunsthall (2007)  -Hairy Banjo , NCAD Masters exhibition, Digital Hub Dublin (2008)

Cyberskin (2 Stage Transfer Drawing) , Filmbase, Dublin (2007)In my version of 2 stage transfer drawing, I pretend that my back is a computer drawing pad interface, made from cloned skin and nerve cells harvested from humans.  I try to dupe the public into thinking that I am a new futuristic communication technology, that can somehow convert touch into digital information and display it on a computer screen. The media controversies surrounding the Vacanti Earmouse and Dolly the cloned sheep have already exposed most people to the concept of bio-engineering, sparking outrage from animal rights groups and enflaming the ethical debate about the right of humans to interfere with nature through DNA manipulation. I wanted to see how the audience would react if I promoted my work as a real ‘cyborg’; a concept more akin to science fiction movies such as Bladerunner than to current scientific reality.Don’t Play With Your Hair, Bergen Kunsthall (2007)  -Hairy Banjo , NCAD Masters exhibition, Digital Hub Dublin (2008)

In Hairy Banjo and Don’t Play With Your Hair  I have continued my comparison and exploration into the use of my body as a machine.

In these performances I use my own body hair to make live musical instruments.  My hair is stretched from my head to make strings that are amplified using contact microphones and speakers. The audience can attempt to strum my hair and make music out of it. With the equipment supplied, the music can then be archived by making an audio tape of the performance.

In My Hairy Banjo, the only knowledge the audience has of my mental state is from a video camera/computer setup that is programmed (via Max/MSP) to show only a glimpse of my face whenever a hair is plucked. In these performances I am static, incapacitated by my costume and reduced to a playful object or automaton to be used by the audience. My body is made into an object, assimilated into the design of the installation.

In the Cyberskin, even though most visitors logically realize that that there is a real person inside pretending to be a machine,  they still expect me to work as fast as an actual computer.  There is cognitive dissonance there, people cannot relate to me a person because of the dehumanizing costume I am wearing. Metaphorically speaking, one can see a similar dualism in the public’s consumption of consumer goods. The countless numbers of people whose human rights are sacrificed in the manufacture of components and over the conquest of resources in countries such as Congo and Darfur are rarely ever mentioned in the mass media. In this way they are dehumanized and so exist as a hidden underclass, mere cogs in the capitalist machine.

Through the use of subversive activist tactics I am attempting to make these issues more explicit by reminding people of the human cost of their consumption, and hope to encourage people to make more conscientious choices when they go to buy new laptops, cell?phones and other electronic gadgets.

Recent Work

Becoming a Franz West, MART, Shunt, London (2009)

In his series, Paßstück or “fitting pieces”, Franz West creates objects that explore his interest in the functioning of bodies in social space. They are organic-looking, tentacled structures of various sizes and shapes, painted in brightly coloured hues and made from cheap building materials such as Styrofoam, plaster and glue. They are removed from their status of being a ‘precious’ untouchable art object, and given a new social function as playthings in the gallery space, designed to be adapted and moved against the human body.

In Becoming a Franz West, I try to push further West’s concept of creating a playful interaction between artwork, audience and artist, by literally turning my body into an object. My performative version however is transient, unlike the original that will ultimately be sold on the art market. This piece comments on how the artist’s name is traded in the art market like a piece of stock that fluctuates depending on supply and demand by investors. A famous artist thus symbolically becomes like an object, his reputation becomes the property of investors as his work’s cultural capital changes into economic capital.

Meat Market, Refunct, ISEA 09, Plane/Site, Dublin (2009)

Meat Market is an interactive installation that, through the use of motors and electronics, allows slabs of meat to move or dance in reaction to ambient sound. The viewer canchoose a music station for the meat to dance to with the radio provided in the installation.

The term “meat market” is a derogatory Irish slang term for a bar/nightclub where its patrons wear a sexually explicit dress code. In the piece I want to draw attention to our cultural attitudes towards the consumption of flesh; both literally in how we eat animals, and in how human sexuality is represented and valued in society.

Beautiful Katamari, Mission Creep, Cite du Design Biennale, St Etienne, France (2008)





Beautiful Katamari laughs hysterically, jolts around on the floor in an epileptic manner and sticks to things as it moves.

Made from fun toys aimed at tourists to encourage their love of a stereotypical Irish identity; it is a self imploding, chaotic tangle of audio vibration feedback loops.

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Jim Ricks


Jim Ricks pieces together the complex and tangled stories of capitalism by re-connecting and re-creating real-world fragments into a new narrative. By selecting and linking the quotidian and re-fabricating or re-contextualising them, the seemingly indisputable real objects do the story telling. A Duchampian conflict between the bourgeois sphere of art and real world imagery begins. By creating links, associations and synchronicities between objects he includes a wide range of ideas through associative conceptual and formal relationships. Or rather, by using a methodology close to that of conspiracy theorieshe connects and creates a new history. As such his work can be seen as a semiological investigation into context, combination, disintegration, and the gap between real stories and ‘manufactured’ identities. Ricks’ work is also influenced by his background as a prolific graffiti artist and a political activist.


Born in California, Jim Ricks received his MFA from the National University of Ireland, Galway and Burren College of Art programme and his BFA from the California College of the Arts. He has exhibited nationally and internationally and recently received the Artlink ‘New Art Award’ which features a solo show in July 2010 (Buncrana, Co. Donegal) and was selected for Video Killed the Radio Star at the Royal Hibernian Academy, January – February 2010 (Dublin). ).  He has upcoming shows with the MART European Tour, 2010 (London, Oslo, Berlin, St. Peterburg, etc.) and a solo show at the Ennistymon Courthouse Gallery and Studios in 2011.

In 2009 he exhibited in The World Shrinks for Those Who Own It, with Oliver Heinzenberger, Galway Arts Centre and The Life and Times of Lillian Virginia Mountweazel, Monster Truck Gallery and Studios (Dublin) participated in Frieze Projects’ COPYSTAND: Autonomous Manufacturing Zone by Stephanie Syjuco (London) and Galway City’s Culture Night, collaborated on The Doctor is In, with Dr. Áine Phillips at the Straylight Performance Art Festival (Dublin) and This Must Be the Place, Irish Museum of Contemporary Art (Dublin).  He is currently working on a touring public work, Poulnabrone Bouncy Dolmen, which is part of the Ground Up Artist Collective’s ‘Aughty Temporary Art Projects’, Spring – Autumn 2010.  Ricks is also involved with organising projects with Cause Collective and for Dorm, May 2010 at the Model (Sligo). He was chairperson and responsible for the curation of 126, Artist-run gallery (Galway) from 2008 – 2009.


Jessica Kelly

Dublin born Jessica Kelly graduated from NCAD in 2007 with a BA in Fine Art – Media.  She works in video and performance, and is also a VJ.

She is currently a resident artist with Daghdha Dance Company in Limerick, where she is playing with body language, loops and samples, working with dancers, exploring choreography of and for video.  She is is interested in synaesthesia, simulacra, technology, techno, pop culture and high art; the intersections and disconnections between them and the worlds we live in.

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Jessica Fenlon

I cannot deny my perception of the unreality of class structure and material status in the face of embodied realities of disease, violence, and death.  I study the mutability of identity vs role, the social necessity of exchangeable stories … all of these come from my inner life and awareness.

My installation and video production work, diverse in content, boil down to consciousness. How do we measure the unmeasurable (VIGIL)? How are we aware of the human activities going on in our community (LITANY)? How do we tell stories to each other (photographing #myG20)?

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Jason Dunne

Jason Dunne (1987, Ireland) is an artist based in Bergen, Norway. He recieved a BA in Fine Art from the National College of Art & Design, Dublin (2009) and is currently an MA student in Fine Art at Bergen National Academy of the Arts.

He has had solo exhibitions at Hordaland Kunstsenter, Bergen (2011), Exchange Gallery, Dublin (2010) and the National College of Art & Design, Dublin in 2009. He has participated in group exhibitions such as 17 M.O.H at Bergen Kjøtt, Norway, Live at Eight at Bar Eight, Invocation of my Demon Brother at the Irish Film Institute , the Great Redundant at Sebastian Guinness Gallery, all in Ireland in 2010. Dunne also won the first prize of The Sanctuary Art Award, he is a founding member of Ormond Studios and has been an intern at Four in Dublin. He currently works as an exhibition technician and guide at Stiftelsen 3,14 and Rom 8 in Bergen, Norway.

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James L Hayes


View: Artist CV | Artist Portfolio | Artist Reviews

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

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Jactina Jardine

Within my art practice I explore notions of imagination and escape. Counterpointing the media’s severe, bleak perspective on contemporary life. By creating situations where concealed yet tangible manifestations of an undefined active imagination interrupt the mundane monotony of daily life; allowing the viewer to discover their own dormant imagination in the process of exploring the piece.

Creating joyful, provocative experiences for the audience forms the fundamental core in all of my work, which is realised through concepts of play, delight and magic and exposed in a disencumbered, light-hearted manner.

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Ivan Twohig


My work operates at the convergence between fine art, architectural design and pop culture. I work across a range of media including electronic art, video, sculpture, installation. I have also worked on public art commissions and design websites for art related projects. Points of departure for me are issues concerning our perception of time and space in light of modern media technology. Everyday things have the potential to be reimagined in so many ways.

The more objects we produce the more we lose sight of the potentiality of objects and the infinite possible other functions they may take on. Similarly the more images we produce the more we lose our grasp of the metaphoricity of those images. Objects and images are becoming lighter and they are spinning around us faster and faster. Eventually they reach escape velocity and exit the gravity of their meaning altogether. When this happens we can no longer care about them. How do we return significance and value to things?


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Helen Horgan


Helen Horgan received her degree in Visual Arts Practice with first Class Honours from IADT in 2009. She has previously exhibited in shows in Thisisnotashop, Pallas Contemporary Projects and Monster Truck Gallery and Studios in Dublin. Last year she was selected for “Neu” Monster Truck Gallerys show of emerging graduates. Horgan is currently working on a new body of work for “Trompe Le Monde”, Limerick City Gallery, January 2011. Later this year she will begin a Masters in Contemporary Philosophy at University College Dublin


Working in the space between image and object Helen Horgans work is an enquiry into systems of thought and belief through unorthodox archival and autobiographical methods. Taking the form of a sculptural diary it involves ongoing personal attempts at grasping the production of incidents of meaning, as played out through the logic of language and the mechanics of her artistic processes. Responding to the qualities of a variety of materials including fabric, sound and text, visually excessive spaces evolve where the idiosyncratic aspects of human nature are allowed to unfold.


Hilary Williams

Hilary Williams is a Dublin based multi media artist whose work spans Performance, video, Instillation, photography and drawing. Her work is motivated by the fragility of mortality. She exhibited in Bulk, Iadt student show Concourse Dun Laoghaire 2005. She received Hons BA fine Art from DL IADT 2005 and MA VIS IADT 2007. She was an award winner in Sculpture In Context Botanic Gardens and Farmleigh Dublin 2004 with Waiting Dialogue, A sculpture/Print/instillation.

She participated in The In Passing, The Bbeyond Performance Tour, Northern Ireland 2005. Writing an An Article Experiencing the NOW. VAI Sept. 2005. She has participated in workshops with Nigel Rolfe, 2005, Alaistair Mc Lennon and Brian Connolly Fire Station 2007.Also with Elvera Santa Maria (Mexico,) in Belfast March 2008, also with Grace Weir, Video/film/script writing workshop in Firestation, Dublin, June 2008. She was involved with Excursions Performance Festival Limerick Jan 2008. She was the artist involved in  Drawing The Line at DIT Art College, Dublin, a live interactive performance 10th March, 2008.She Participated in Live Performance in This Is Not A Shop Gallery with LIVE BREATH July 2008. Her video/performance work Last Breath has been screened in Arts- Claims-Impulse Gallery Berlin, In The Black Box via The Catalyst Art Centre Belfast, and with Mart in Silkes in The Galway Arts Festival 2008.

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Frédérique de Montblanc

Born and raised in Brussels, Frédérique de Montblanc completed her BFA in Theatre at Concordia University in Montreal in 2004. She then obtained her MFA from the California Institute for the Arts (CalArts) in Los Angeles in 2007.

Both scenographer and visual artist, her work has been exhibited in Los Angeles (Outpost Gallery for Contemporary Art, Highways Performance Space, BetaLevel Gallery, CalArts), Houston (Lawndale Art Center, Artstorm Gallery, Slab in Temporary Space, Nance Street Studios) and more recently  in Brussels ( Nadine, Vasthouse, BAF, Art Asylum).

Her set design work includes Firebird and Titus Andronicus with the Dominic Walsh Dance Theatre Company based in Houston, TX.  More recently, she has designed I Would Prefer Not To by Selma Alaoui (Theatre les Tanneurs, Brussels) as well as Les Buveuses de Cafe by Compagnie Mossoux-Bonte ( Theatre Romain Rolland, Paris | Internationales Figurentheater, Erlangen | Theatre des Brigittines, Brussels).

She currently lives and works in Brussels.


The predominant subject of my work explores codes of behaviour and etiquette. More particularly, I examine the multiple facets of femininity when constrained to these specific codes.

Strongly informed by contemporary dance and an ongoing working experience in set design, space and body are key components to my work. Whether the body is photographed, drawn, collaged or video captured, it is always choreographed to respond to a given scenography. The female body becomes a mean of subversion within spaces that are usually interiors: whether opulent or raw, bourgeois or minimalistic, they remain somewhat intimate.

I poke fun at the ambiguities surrounding the concept of ‘normal’ or ‘expected’ femininity within society. Women are staged in such a way that they both embody their expected feminine attributes and sabotage their own image.



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Fiona Alexander


I like to work with a wide variety of media ranging from, videos, working with fashion to printmaking, and using the various materials and techniques to explore identity, memory, intimacy and creating a human interaction. I like to work with materials which resonates an individuals identity and from this idea recently I have tried to create pieces with a public and private role reversal.


Cataylst Arts Belfast – “Shambles” Group Exhibition 2009
Belfast Print Workshop – “Student Show” 2010
University of Ulster Belfast  – “Degree Show” 2010

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Fiona Walsh

Installation: ‘A Suggestion Of History’

What is material is ephemeral and momentary and cannot be preserved.

Fiona was featured in MART’s LAUNCH EXHIBITION

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Camilla Fanning

Camilla Fanning is an Irish artist based in Dublin. Her primary medium is etching with an interest in innovative techniques. Her practice includes printmaking, life drawing, digital techniques and expanded sculpture.

A recurrent theme of her work is collective memory and shared imaginings, in particular of the Irish landscape.  This year she has focused on research and creative development, anatomical life drawing, and is working towards an exhibition in Norway. Recent New Media work explores the dark side to traditional childhood games with a satirical-political edge.

She has just had her first solo exhibition in the very trendy art café ‘Digby’s Deli Diner’ in Dublin. Her work has been exhibited in New York and Dublin, is in private collections in Ireland, the UK and New Zealand, and has been included in several open submission curated exhibitions.  She has studied in Dublin, New York and Berlin, and worked in Milan and London. Camilla is an arts award recipient from the Irish Arts Council and Dun Laoghaire Rathdown Co Co.  Her work is available in several art galleries including the Graphic Studio Gallery which is the main fine art print gallery in Ireland.

She is an OA Member the Graphic Studio, Dublin, Attends the Royal Hibernian Academy Life Drawing Sessions, and member of ThreeRockArt, DLR arts Network, and a professional member of Visual Artists Ireland.


Atoosa Pour Hosseini

Artist’s Statement

Atoosa Pour Hosseini’s work explores questions around illusion, reality and perception. She attempts to convey and examine several recurring themes that relate to location, reflection, nostalgia and her relationship with her surroundings. Her works creates other worlds – mysterious, opaque and remindful of places we perceive we might recall or vaguely recollect from dreams or memory.


Atoosa Pour Hosseini (Born in Tehran, 1981) is an Iranian Visual Artist based in Dublin, and member of Black Church Print Studio. She graduated from Azad University in Tehran (2007) with a BA (Hons) in Fine Art (Painting) and HND in Fiber Art from Ballyfermot College in Dublin (2009). She uses a variety of media in her practice including drawing, painting, printmaking, sculpture, Video and photography. Her works has been exhibited widely nationally and internationally.



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Aoife Casey

Aoife Casey received a Diploma in Fine Art Painting from DLIADT in 2001, followed by qualifications in Sustainable Development and Fabric and Fibre Arts, followed by a degree in Fine Art Sculpture from NCAD in 2009. She uses her varied backgrounds to inform her practice. Aoife has exhibited in Tasmania as well as throughout Ireland including the Tig Fili in Cork, Kenny’s Gallery Galway, The Mantua Arts Centre Roscommon, The Dublin Art Mill, This is Not A Shop, The Joinery, La Cathedral Studios and Powerscourt Townhouse Dublin aswell as arts festivals country wide.

As an artist I seek to actively challenge concepts of gender, sexuality and the body politic through performances, using  costume aswell as audience participation which both collaborate with the body to visually display notions of internal conflict and self realisation and perhaps self-acceptance. I reconceptualise notions of self  through the objectification of the body in space or environments; a field, a body sculpture, a hidden room, a wardrobe or a river bank.These explorations are documented and presented (mainly through installations/kinetic sculptures)  in such a way the viewer can fully immerse themselves in a potential reavaluation of themselves. I explore how our bodies inhabitat space and time. I have a  curiosity in relation to the living form, how it negotiates itself in various environments, under various conditions be they lighting or  vacinity. I question the notions of art and the autonomy of the work itself through use of the body as language. Having been trained in fabric, fibre and dress design, I use costumes as functioning aparatus’ which collaborated with the body in the space. During the works, the audience is either invited to enter the immediate space or actively engage with the structure/piece performed in. Using a language of images, gestures, spaces  and more recently accompanied instrumental sounds;  I invite the audience into a gentle dialogue. The audience is invited to experience the work without too many preconditions and is encouraged to explore the whole space and  be present in the moment.


Exhibitions/ Symposia


May 2012                                             Linklighters Photography exhibit, Centre for Creative Practive, Dublin 2

April 2012                                            Abandon,Performance, The Old Mill,Dublin 14

Feb 2012                                              Unit 1, performance at The Exchange, temple bar, Dublin 2

August 2011                                         ‘Tin Girl’ Performance, NextStage Live Art Show, The Back Loft, Thomas St. D.2

July 2011                                              Homeless Gallery Group Photography Show, Darklight Studios, Dublin

Dec 2010                                             Transgression-Ormond Studios, Ormond Quay D.2, performance 2 hours

Oct 2010                                              Re-performance of ‘We are Sacred Bodies of Sacred Geometries’, Interdisciplinary  Performance Evening, Block T, Smithfield,Dublin

August 2010                                        Tuam Arts Festival 2010 The Girl with the Golden Stones, performance

July 2010                                              Sproai Festival 2010; ‘Everyone is an  Audience’, Soma ArtBox, Waterford (one hour)

May 2010                                             SoGo Festival, May Bank Holiday, Georges St ,  South William St festival of The Arts

April 11th Mamuska International Performance Collective Event, Le Cat Salons, Le Cathedral Studios, Thomas Street

March  2010                                          The St. Patricks Day Festival Shop If You Can, Look If You Want, Art Trail

Dec 17th 2009                                     The Joinery Gallery, Nature of The Beast,   1 hr Durational Body Sculpture Performance @, Stoney Batter.

Dec 2009                                             St.Mary’s Hospital Art Exhibit of students work from the Care ,Centre, Phoenix Park

Oct 2009                                             The Darklight Festival Live Installation, 2 hour  durational performance  @The Dublin art Mill curated by Amanda Coogan

June 2009                                            BA  Sculpture Graduate Show, NCAD, D2

May 2008                                            The Joinery Gallery Work exhibited BusStopBus mobile bus exhibit

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Aoife Giles

I am a visual artist, curator and educator based in Dublin, Ireland. My practice involves a variety of media including photography, installation, performance, film and video. My work often begins as an investigation of manmade and natural environments and myth.The crossover between our public and private lives and the challenges of representing subjective experiences are key elements of my artistic and curatorial practice. I am interested in exploring experiences and places where something finite and ordinary could become charged with possibility. The prospect that the quotidian can be transmuted and left behind is the driving interest behind my research.  I have exhibited and worked in Ireland, Brazil, England and Sweden

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Aoife Flynn


Technology, ideology, architecture, entropy and the prospects of global ruin are at the heart of sci-fi narratives and at the heart of my research. The ideas inherent within science fiction novels are much more loaded than the form they take and I am interested in examining the dystopian visions that they present in relation to current economic and environmental concerns. Science Fiction is, in many ways, an exorcism of a collective cultural unconscious. Even while it serves as an outlet for social commentary and a platform for speculation, the genre but efficiently displays our fears, arranging them for public presentation, comment and verification. These works draw a connection between my own interests in ideology and architecture that come from sci-fi narratives, and try to draw a link between the idea of monument and folly, creation and disintegration.



Aoife Flynn a visual artist and curator from Wicklow. She graduated from Limerick School of Art and Design in 2008 with an Honours Degree in Fine Art Painting and has recently completed a Masters Degree in Visual Arts Practice, IADT Dun Laoghaire, Dublin. She was part of an artist-led group that set up Occupy Space gallery in Limerick in 2009 where she founded and edited Occupy Paper, an online publication that runs alongside the gallery programme. Recent exhibitions include The God of Small Things, The Rubicon, Dublin (Feb 2012) Shoot the Tiger, PrettyVacant, Dublin (Mar 2012), and The Wood between the Worlds, Occupy Space, Limerick (May 2012). Recent writing and curatorial projects include EXIT Limerick, as part of eva International 2012, curating the Visual Art exhibition at Solstice, as part of the Midsummer Festival, and she is currently working towards a curatorial residency at Market Gallery and Studios, Dublin for late 2012/early 2013.



2004 – 2008 Limerick School of Art and Design     Bachelor of Fine Art

Honours Degree

2011 Institute of Art and Design Technology, Dun Laoghaire    MAVIS

Masters Degree


Solo Exhibitions

2010 Process Space, Occupy Space, 29th Sept- 15th Oct

2008 Russborough House, Blessington, Wicklow


Selected Group Exhibitions

Upcoming: RUA RED Winter Open Exhibition, Tallaght, Dublin 24,27th Oct- 15th Dec

2012 Ranelagh Arts Festival, Ranelagh, 15 -29th Sept

2012 Augment, Catalyst@The Waterfront, Belfast, 2nd- 31st August

2012 The Wood between the Worlds, Occupy Space, Limerick, 4th-26th May

2012 Shoot the Tiger, PrettyVacant, Dublin, 15th-31st March

2012 The God of Small Things,The Rubicon, Stephens Green, Dublin 25 Feb-24 Mar

2011 Christmas Xtravaganga VI, Monster Truck Gallery, Temple Bar, Dublin 2

2011 VISIT, Open studios at Monster Truck Studios, 73 Francis St, Dublin 8.

2011 Public Gesture, The LAB, Foley St, Dublin 1

2011 Art of Fashion in association with IMMA 20th Anniversary and Brown Thomas, Limerick

2010 Everyone is an Audience, SOMA Contemporary Art Box, Spraoi Festival, Waterford

2010 Symbiosis, W.S.S. Members Show, Occupy Space, Thomas Street, Limerick

2010 C:Inside, Occupy space, Thomas Street, Limerick. Selected by Susan Holland

2009 Cracking the Combination, turn-Berlin, Mitte, Berlin, Germany

2009 Thisisnotagateway Festival, Spitalfields, London

2009 Culture Night, Wickham Street Studios, Limerick,

2009 RHA Unselected, The Bad Art Gallery, 79 Francis St. Dublin 8,

2008 RE: COLLECTION, Graduate Reunion Show, Georgian House, Pery Square, Limerick

2008 Home is where the Art is, Blackrock, DUBLIN 4

2008 Graduate Exhibition, LSAD, Clare Street Campus, Limerick

2008 Drawing Awards ’08, LCGA, Pery Square, Limerick, Selected by Arno Kramer.

2007 CEAD in CHINA 2007,Shanghai,April 14th, Beijing, April 24th, Hangzhou, May 12th. 2006 The Hunt Museum Annual Student Art Awards, Rutland Street, Limerick.

2006 Open EV+A 2006 Give(a)way, L.S.A.D, Clare Street, Limerick

2006 The Rose Project Student Art Awards, The LAB, Foley Street, Dublin 1.






2012 Invigilator/Guide, Project Arts Centre, Conjuring for Beginners.

2012 Reviewer, as part of EXIT Limerick, in association with eva international and Static Gallery Liverpool, Limerick.

2012 Research group in association with Mermaid Arts Centre and Wicklow CoCo, Bray, Co. Wicklow

2012 Visual Art Curator, Solstice Arts Festival as part of the Cork Midsummer Festival, Cork city.

2011 Graphic Designer, McGreals Pharmacy, Blessington, Co. Wicklow.

2011 Volunteer/Invigilator, Dublin Contemporary, Earlsfort Terrace, Dublin.

2011 Co-curator, in_flux Art Fair, Thomas St Centre, Limerick

2010-2011 Editor of Occupy Paper, an online contemporary art journal

2009- 2011 Board member of artist-led gallery ‘Occupy Space’, Thomas St, Limerick

2009 Founder member of Wickham Street Studios, Wickham Street, Limerick

Feb-May 2009 Internship with Visual Artists Ireland, Dublin 1.



2012 The Irish Times, 2nd April, A pile of old clothes that tear into the fabric of life, Aidan Dunne

2012 The God of Small Things, Exhibition Catalogue, Rowan Sexton

2011 papervisualart, Focus section

2011 The Gap Between Everything’ Curt Riegelnegg, Public Gesture@The LAB

2011 Time is on our Side, Jonathan Carroll, Visual Artists Newsheet June/July



2012/13 Market Studios Curatorial Award



2010 Limerick Prison in association with The Bedford Row Family Project and The Irish Prison Service, Limerick

2011 Commonage, Callan, Co Kilkenny, July 13th -23rd

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Amy Walsh

Bio / Statement:

Amy Walsh is a Visual Artist living and working in Dublin. Amy works primarily video, photography and digital and interactive media and she lectures in the Fine Art Department at Dublin Institute of Technology. Amy recently had a solo exhibition of her work at West Cork Art Centre and she has been selected to participate in a residency with the Bundannon Trust in NSW Australia in November 2012.

Website link:


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Amir Guberstein


Amir Guberstein (b. 1985, Israel) is a student at the Universtitaet der Kuenste (UDK) in Berlin, studying under Professor Fons Hickmann. Working with a variety of media, including Print, Video and Sculpture, Guberstein’s work addresses a range of subject matter with strong visual stylistic consistency throughout. With a penchant for graphical and design elements, Guberstein’s body of works includes a photography and sculpture installation exploring the intricacies of interpersonal romantic and pseudo-romantic relationships; formal meditations on typeface and layout as metaphor and comment on sociological and psychological phenomena; a site-specific sculpture and accompanying triptych referencing science fiction and fetishization; and a recent set of 60 print works, études of the architecture and anatomy of bomb explosions.


By coercion and back-and-forth-conversion of norms, standards, disintegration, solidification, destruction, subjugation and the shifting in between realms and media.

I will bottle the elusive millisecond where a new realm is crystallized.Where origin is of no importance.

Purified gorgeousness.


Website :


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Alison Slack

As a mutli-disciplinary artist, I use different techniques in my artwork, ranging from drawing and painting to sculpture, sound installations and digital media. I am an active artists who exhibits on a regular basis with an upcoming touring show in Europe this summer. During my masters I  worked as a teaching assistant  which gave me valuable experience working with students as well as developing my teaching skills. I am a dynamic, motivated and dedicated individual who enjoys working with students. My teaching experience has allowed me to assist students in developing their own art practice (both conceptually and technically).

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Anthony Murphy

Anthony Murphy creates work designed to explore the disparities between the physical and the observed.Using video projection mapping techniques to map animation onto sculptural objects, the work invites the audience to explore their own suspension of disbelief. By exploring and exploding physical surfaces with illusionary animation, investigating the relationship between the physical space and the projected image that is at once symbiotic and competitive, the work’s intention is to blur the distinction between the 2 dimensional and the 3 dimensional. Taking inspiration from elements of modern quantum theory, postmodern philosophy, and media studies, the work pushes and pulls perception and perspective in the hope of raising questions concerning information distribution and our interpretation of both space and events.


Solo Exhibition Details

2011: C A V E S, Occupy Space, Limerick.

Group Exhibition Details
2010: ShowMe, Occupy Space, Limerick.Curators: Anna Crudge and Nora O’Murchu
2009: IADT Graduate Show, IADT Dun Laoghaire.
2008: Threshold, fourth year exhibition, IADT Dun Laoghaire.Curator: Jonathon Carroll (Project Arts Centre)
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Andrew Carson

“We were talking-about the space between us all

And the people-who hide themselves behind a wall of illusion
Never glimpse the truth-
We were talking-about the love that’s gone so cold and the people,
Who gain the world and lose their soul-“
– George Harrison “Within You, Without You”

My work explores the effects digital environments and text-based communications have on social interactions and paradigms and our perceptions of reality. It questions our relationship with online technologies: how we enter them, and the alternate lives we experience therein.

Finding links between religious beliefs and contemporary uses of online and social media – and inspired by Facebook’s recent memorialisation policy – the work invites users to reflect on the data and memories they upload as a sort of shadow-self. Coupled with other social media sites such as Twitter and Google+, the work explores the semblance of immortality that occurs; immortality not dependent on the continued presence of the physical self.

Running concurrent with this line of inquiry is the investigation into psychological effects inherent in the use of these sites; revolving around the dichotomy of potentially un-reconciled virtual and physical realities. Incorporating spiritual and religious beliefs, the work examines meditative practices in a bid to create a contemporary ritual with which to engage our cyber-selves.

The work also draws influence from several other strands of inquiry, including philosophical thought, structural and post-structural linguistic theories, folk and pop music, and 1960’s psychedelic culture. The manifestation of these ideas form installations comprised of multi-faceted sound and visual media, print, and moving image.

I am a Dublin based artist, graduated from DIT with a BA Fine Art (First Class Honours) in 2010. Recent exhibitions include Unknown Knowns (Draiocht, 2011), Hell’s Microwave (Pallas Contemporary Projects, 2011), Jockeyism (Block T, 2011) and Sonic Vigil V (St. Finbarr’s Church, Cork, 2010). I am also Vice-Chair of Broadcast Gallery, and has worked with, FOUR, and Temple Bar Gallery & Studios.

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Amanda Pearce

Bio/ Statement:

Amanda Pearce is an emerging artist from Birmingham, UK who recently graduated with a First Class Degree from Birmingham Institute of Art and Design. Amanda has exhibited work locally in and around the West Midlands- notable exhibitions include ‘Birmingham Made Me’, The Mailbox Birmingham, ‘Coventry Open’, The Herbert Gallery Coventry, and ‘Film Bug’ Flatpack Festival.

Amandas practice is mainly video and video installation, but also incorporates elements of performance. She uses video to document both real life and staged events, focusing primarily on her own family. In all of her work their is an obvious interest in people and everyday life. She looks for fiction within reality, finding performative aspects of everyday life; and she looks for reality within fiction, finding where false emotions become real in staged performance.

By using her own family as primary focus for her own work, Amanda breaks down the barrier between director and performer and brings her private life into public knowledge, helping the lessen the divide between artist and viewer.

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Alison Cronin

Alison Cronin (b. 1975, UK) is a visual artist based in Co. Cork. Working with a variety of media including video, photography, drawing, collage and installation, her art practice is a personal response to life as a movement through space and time, a reaching out across a space, a form of communication.

She also works with children and young people, primarily through her role as Schools and Youth Coordinator at West Cork Arts Centre.


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Alan Delmar

Alan Delmar is a multidisiplinary pracitioner but he is primarily a performance artist. His most recent work has been exploring the medium of performance as a process in itself, interacting with space and objects to discover new ways to express himself and articulate concepts. Through crashing into walls, pressing his body into corners, and holding positions of endurance for as long as possible, he attempts to make sense of his body in space and it’s potential power as a vehicle for self expression.
Although the work is constantly informed by ongoing historical and social research, the particular concepts within the work come about as it is is being created, emerging almost subconsiously through the performing of actions. Through this process, he articulates more abstract human emotions through his body, effectively going beyond words.
Recurrent issues in his work include power relations, identity, endurance, duration, and the resilient nature of the human condition. He keeps little restriction on his artisic process, opening his art up to even more unique interpretations and possibilities.  He speaks through a simple, pared-back, minimal aesthetic.

Recent exhibitions have included
US & THEM @ D-Light Studios
From Context to Exhibition @ The LAB
Unit1 @ The Exchange Gallery
LiveStock @ The Market Studios
4.3.12 exhibiton of live art @ Block T


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Aisling O'Beirn

Aisling O’ Beirn Artist Statement

My current work is concerned with how to explore space as a physical structure and as a political entity.  I have been making and animating forms relating to observed and theoretical structures being studied by contemporary astronomers and physicists. This work, much of it facilitated by Armagh Observatory, is an extension of previous work on the relationship between the politics of place uncovering the tensions between disparate forms of official and of unofficial information.


O’ Beirn is based in Belfast, making work concerned with the politics of space for both gallery and site specific contexts. She has exhibited nationally and internationally and is an Associate Lecturer in Sculpture at the University of Ulster.

O’ Beirn is represented by The Third Space Gallery, Belfast.

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Aine Phillips

Áine Phillips makes performance and video art in Ireland and internationally. She is involved in artist led projects and curates live art events in Ireland. Her work aims to link autobiographic themes, actions and images with wider social and political realities.


Áine Phillips has been exhibiting multi-media performance works in Ireland and internationally since the late 80′s. She has created work for diverse contexts; public art commissions, the street, club events and gallery exhibitions including Judith Wright Centre for Art, Brisbane Australia, Tanzquartier Vienna, Moving Image Gallery and The Kitchen New York, National Review of Live Art Glasgow, Mozovia Art Centre Warsaw Poland. In Ireland at the Irish Film Centre, Arthouse, EV+A Limerick, Galway Arts Centre and the Hugh Lane Gallery Dublin. She is involved with artist led initiative Live@No.8 in Galway, a monthly screening of live and video art and she curated Tulca Live 2005-2007, festival of live and video art in Galway. She completed her practice based PhD at the National College of Art and Design Dublin in January 2009 entitled Live Autobiography. For more information on the scope for the project see

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Eoin O’Dowd

Eoin O’Dowd’s work utilizes a variety of media including sculpture, drawing, video and animation. His recent work focuses on the development and transitions of mythological and folkloric belief, attempting to correlate modernity with the sacred primordial.

Recent Group Shows:
Monster Truck’s Christmas Xtravaganza VI, Monster Truck Gallery – Dublin
Middleground. No Grants Gallery – Dublin
New Living Art II, IMOCA – Dublin
KRF Notebook Project, Riverbank Arts Centre – Kildare
Student Art Expo 2011, Royal Dublin Society – Dublin
D.I.T Grad Show 2011, Portland Row – Dublin
The Look of Laughter and Forgetting, St Joseph’s Convent – Dublin

Emily Boylan

Artist Statement

My work is about relationships. In my most recent piece, ‘Bluffers’ I look at the words that tend to accompany a failed sexual relationship. I am interested in the clichés that seem to fall into the worst voids that exist between us, as we interact.

In ‘Bluffers,’ the male and female players read their dialogue from playing cards which the performers shuffle before they begin. There is a crossover with the area of experimental theatre, in that a script exists, although it is malleable in nature.

I always try to allow for the influence of the random, and chance, in my work, as I feel this is a governing force in my world. Meaning is important in my work, but I wish to convey its transience and intangibility, rather than its comforting presence. Art is a struggle for me to come to terms with the paradoxical nature of my experience.

Gender is relevant to our perceptions of each other, and to the power we wield in social situations. However, I hope to dispel some common myths about the male-female divide, by revealing the similarities in the words and power-bids made by both sexes.

I have moved from the area of video to performance, in an effort to better capture the human dramas which fuel my work. Theatre and film inform my work, although at times I am rowing against their traditional sense-making narrative functions. If anything, the presence of a live element in my work, an element of risk and randomness seeks to remove our artificial structures of understanding, to approach a truth which is more of the moment.

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Ella de Burca

Artists Statement:

Ella de Burka is a 3D artist from Dublin, Ireland.  Taking influence from philosophy, literature and history she creates temporary 3D objects that survive through photo or video documentation. A firm believer of causality, she questions the dogma of society through excessive and impermanent idealistic actions, that are later reincarnated as monuments to something that was.

Burke creates live situations for her audience where her art ‘performs’, though it is through the re-representation of this performance that her work is mainly considered. From this non-space, the work relies on the audience to re-create the physicality of the work in their minds, and in many ways, to contribute to the work either through its destruction, or construction. It is from this non-place that her work comments on our everyday life.

In making work that is semi-permanent, Burke avoids the canonization, and commercialism that weighs upon Western Art. Burke recently spent 3 months in Tallinn, Estonia investigating the creation of new, pedagogical ideas of contemporariness in Eastern Europe.

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Eleanor Lawler


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.

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Debbie Jenkinson


For as long as she can remember Debbie Jenkinson has been an avid reader of stories. This interest can be traced back to her degree studying novels in Trinity College Dublin, through the time she spent studying classical animation in Ballyfermot, to her present practice on narrative. In 1997, she went to USA, and worked on several short films at O’Plenty Animation, where she had the chance to hone her animation and drawing skills. She directed her first short there, Daniel the Daydreaming Mouse. Back in Ireland, in 2004, she made the semi-autobiographical film tribute to her time in New York City, Bright lights, big city. Now having obtained a Masters in NCAD (Art in the Digital World), in 2008, she has her own art practice focusing on the function of narrative in ordinary life, combining traditional and new media spheres, (wind-up devices and found objects, drawing and painting).

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Denise Kehoe


Denise Kehoe (born 1988, Co. Wexford) at present, lives in Dublin where she is currently working as a practising artist. She has been studying Fine Art for 5 years. Denise’s interest in art began after embarking on the Art, Craft and Design course in St. Johns Central College, Cork. In 2007, she pursued her studies in Fine Art at the Crawford College of Art and Design,Cork. In 2011, She completed her BA. (Hons) degree at the Crawford College of Art and Design. She obtained 1st Class honours in her studio practice. In 2011, Denise was awarded the Art Trail Graduate award, the CIT purchase prize and the CIT President’s award



My work is an attempt to scruntinise the role of ‘the artist’ and ‘the artwork’. My work aims to break down barriers  that the artworld can frequently contain.

My work attempts to say interesting things in aesthetically pleasing ways.My influences range from Fair City to the Eurosaver menu and from Jedward to Rothko.

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Darragh O'Callaghan

History Of Work

09 Bank of Ireland Scholarship Award, 08Monaghan County Council Award for contribution to Arts and Culture, 07 Aileen Mac Keown.
Took part in International Video exhibition, alongside Marina Abramoviç, Regina José Galindo, Rineke Dijkstr, Viola Yesiltak and Paul McCarthy. Video apartment.
Screened work on Gael Linn, BBC Northern Ireland.
Selected to take part in ASEF Revision Bangkok New Media Art and Interactivity Convention 2009 hosted in Bangkok.
Co-curated exhibition across different locations in Dublin called ‘Imma-culate collection’ with Irish Museum of Modern Art.

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Corey Smith

We’ve seen the future, and it only looks good in hardware specs. Amid famine, collapse, and massacre, we dream of freedom. From the pyramid to the moon shuttle, man’s greatest endeavor has always been to subjugate death and the dreams of sleep—to own them, control them, escape therm—to paint our own new futures onto the blank slate of unfilled coordinates.

In obsolete dreams, artist Corey Smith confronts the hulking physicality of these useless masters of dreams and death: cold-war stealth bombers, moon shuttles, astronauts, the unholy engine fueled by the american flag. But smith remakes them according to their own dream logic, that alien symbolism of deflective curve and angle that is both perfect and perfectly incomprehensible to the life that is always right here in front of us.

So in smith’s work, silent death comes in the bright colors of advertising, and bombers swing lovely as children’s models on wires. The grim, grey haze of a satellite photo takes on a more intense reality than the one you know, because it comes from that high, floating future. Even if the art of science is war and escape, there’s nothing more romantic than chasing the zero all the way down. And space is where you dream, when you dream on empty.

Corey Smith’s obsolete dreams calls out to the primal dreams themselves: long live the dead dreams, long after their masters have forgotten how to dream.

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Bio by Mathew Korfhage:

Corey Smith is a painter, sculptor and photographer from portland, or, who currently resides in los angeles, ca. His paintings and photography have appeared in vice, elle, id, fhm, frequency, complex, and arkade magazines, among others. His works have been shown in galleries across the country, including upper playground (portland, or), versus (los angeles), on six (san francisco), kcdc (new york city), and the orange county museum of art.

Smith’s high-gloss, ultra-flat paintings capture the joys of plasticity and pre-fab environments, celebrity as the ultimate blank canvas, and the absurd hyperboles of modern leisure. But rather than repackage the manufactured world into an aestheticized form–a la post-warholian pop–smith favors a post-pop approach that brings into day-glo focus the dark vision at the corner of the spectator’s eye. The paintings find their subject in the tension between the works’ fatalistic undercurrents and the celebratory aura created by smith’s use of bold color and bright-lined contour.

His sculptures and mixed media works develop some of these same themes, but rather than map plasticity onto flat canvas, smith instead maps flatness onto plastic forms–whether by painting across arrays of commercially molded objects or by making use of the naturally deflective precision-cut panes of modern machinery.

Smith’s photography develops some of the same themes as his sculpture and painting–surface, extremity–but abandons ironies for a more intimate perspective. Most of his subjects are close friends or lovers, and smith documents them at points where excess bleeds either into empathy or its impossibility, and where the romance of abandon intersects with abandonment.

His works are a death valley realism, infused with both sunny californian optimism and morbid premonition. This is awful, deeply wrong, utterly fantastical stuff–a distillation of a time, a place, and a generation that are always already beside themselves.



Solo exhibitions


Worksound gallery, “obsolete dreams”, portland, or


Backspace gallery, “air superiority and obsolete dreams”, portland, or


Light gallery, “fuck yeah bro!”, costa mesa, ca
backspace gallery, “drop out, not bombs”, portland, or
fice, “jesus i trust in you”, salt lake city, ut.


Mark wooley gallery,”affair at the jupiter hotel”, portland, or
the closet, “liar’s laughter”, santa monica, ca


Backspace gallery, “it’s not gay if it’s for drugs”, portland, or
sugar gallery, “seven day weekend”, portland, or
the camp gallery, “key to the city”. Costa mesa, ca
rake art gallery, “ultra artsy”, portland, or
seven gallery, “let the good times roll”, portland, or


Neverender gallery, “zerocharisma”, reno, nv
circle gallery, “zerocharisma”, salt lake city, ut
nemo design, “looking good is better than feeling good”, portland, or
backspace gallery, “zerocharisma”, portland, or


Street machine gallery, “nice life”, san diego, ca
backspace gallery, “nice life”, portland, or


Kcdc gallery, “nice life”, williamsburg, ny

Group exhibitions


Heist gallery, “we haven’t felt this way in years ii”, san francisco, ca
ghettogloss gallery, “furious sons”, los angeles, ca


Work sound gallery, “white noise”, portland, or


Regent theatre, “clean hands, dirty hands”, downtown los angeles, ca
world of wonder gallery, “departed”, hollywood, ca


Audiocinema gallery, “children of the revolution”, portland, or

Rake gallery, “all day snacking”, portland, or


Upper playground fifty 24pdx gallery, “new scenery”, portland, or
disjecta, “auction 2006″, portland, or
maek gallery, “down to earth”, encinitas, ca
renowned gallery, “it’s all wood”, portland, or
on six gallery, “carpe diem”, san francisco, ca
rake gallery, “opening”, portland, or
versus gallery, “clash of the titans”, los angeles, ca
higgins gallery, pnca, “animals, the real and fantastic”, portland, or
wonder gallery/ mark wooley, “sedition”, portland, or


Orange county museum of art, “modis odis”, new port, ca


Mailroom gallery, “Corey Smith and nemo design”, portland, or

Non profit


“people and places” group photography show, benefit for habitat for humanity and architecture for humanity



Colm Clarke


Colm Clarke develops his praxis as a tactile strategy focusing on the body and the relationship between the individual and the environment. His research focuses on the physical/conceptual dimensions of phenomena such as vibration and resonance in consideringthe mechanisms of entanglement and aesthetics of power.

Born 1983 in NY now based in Belfast. Clarke was co-director of Catalyst Arts (2006-8). He currently sits on the board of Bbeyond and is co-founder of ad hoc.




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Colleen Keough


My work explores female persona and the collision of voice, language, technology and communication. In my performance and video work I investigate the psychological spaces surrounding the female voice and identity. I am also interested in the feminine in relation to nature and the mystery and phenomena of the natural world and organic consciousness.

I did my undergraduate studies at the School of the Museum of Fine Arts in Boston, MA. While there I fell in love with making video, performance, and sound. After school I moved to Chicago, IL and was inspired by its diverse and vibrant music scene. I started writing songs, founded a Band called RUBIES and began performing and recording music.  My passion is creating multi-media performance and installation work. I will be receiving an MFA in Electronic Integrated Arts from Alfred University, A lfred, NY in May 2010.

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Clodagh Lavelle


Lavelle was born in Mayo in 1980, she has received a B.A Fine Art degree in D.I.T 2003 and a Post Graduate Degree in the University of Ulster 2007. She has since completed a residency in Flax Art Belfast where she now lives and works.

Her most recent shows include The Index Gallery, Waterford and the Golden Thread Gallery, Belfast. Upcoming events include a performance as part of in 12 Acts, The Project Room, Trongate,Glasgow and a group show in Taiwain.

Lavelle’s interest in making work lies greatly in the thought that there can never be any fixed meanings appropriate to all viewers simultaneously. She is continually interested in the various considerations that images, objects, words, installations and people can generate.
The work often centres around the ambiguities and nuances inherent in communication and thus with it she hopes to produce alternative ways of looking or connecting.



Coalfather Industries was started by Craig Newsom and Kara Jansson in 2011 as a natural extension of their online communication and recognition of parallel aesthetic and social motivations.  Their process is based in conversation, humor and unrelenting analysis of popular culture.  The results of this process range from short videos to still images, much of which is composed on mobile devices.
Craig Newsom graduated with an MFA in Sculpture from the University of Chicago and currently teaches in the art department of Blackburn College in Carlinville, Illinois.  His work addresses issues of transformation, confusion and despair.  He is a board member of the International Association of Mobile Digital Artists.
Kara Jansson studied art at the Corcoran College of Art and Design and received a BFA from the University of Massachusetts at Amherst.  Her illustrations have been published in various online publications including The Washington Post and The Huffington Post.  Her work addresses issues of absurdity, confusion and despair.  She is a founding board member of the International Association of Mobile Digital Artists.



Strange Glue – Collage at 100, Thompson Gallery, Weston, MA
FILE Festival 2012, Art Gallery of SESI at FIESP – Ruth Cardoso Cultural Center, São Paulo, Brazil
Ground Teeth, Offwhite Gallery, Chicago, IL
Virion 2012, online
Magmart, Naples, Italy
Intercept 2:7, Multiplexer, Las Vegas, NV
Utopian Abortions, part of Big Muddy Film Festival 34, Carbondale, IL
Last Friday Shorts, TAP, Southend on Sea, England
Stylectrical, Museum für Kunst und Gewerbe, Hamburg, Germany
Billboard Art Project: Chicago, IL
I AM NOT A POET, VerySmallKitchen and TotalKunst galleries in Edinburgh, Scotland
24 Frames 24 Hours, online and Wellington, New Zealand
One Minute Film Festival, Le Cinéma l’Univers, Lille, France

Clare Shanahan & Brian Sherry


Clare Shanahan, (collaborating with partner Brian Sherry) completed her BA Honours Degree in Fine Art and recieved the HETAC Student of the Year in IADT Dun Laoghaire, 2007.

Selected for the RDS Student Art Exhibition 2007, Best in Show at the Digital Hub – a showcase of the best of Ireland’s graduate art exhibitions, The Big Store – Temple Bar Gallery & Studios annual end of year show 2007.

And recieved a scholarship from the Asia-Europe Foundation to work on collaborative sound based project in Finland entitled ‘Hearing Helsinki’, 2006

Clare and Brian were resident artists for Cellsbutton01 – Yogyakarta Media Art Festival, Indonesia 2007 and were shortlisted for the newcomer award in the Darklight Film Festival, 2006.

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Ciaran Hussey

Artist Statement

Ciaran’s work revolves around the psychological effects that  contemporary capitalist society has placed upon its practitioner.  Through a multidisciplinary practice he draws attention to aspects that define us in an age of technological advances and uncertainty.  In a world of paper-thin representations, instant gratification and blurring of reality we are left with a sense of numbified emptiness, repetitiveness, alienation and a general lack of apathy.  We have developed an agitated sense of expectation, as we await some form of salvation, in the guise of commodities, services, fame and celebrity, that will deliver some solace, but instead are left with a niggling dissatisfaction and a constraining feeling of being cheated. Currently his practice involves highlighting these aspects using the medium of film & sound installations and playing with peoples notion of aspirations, expectancy & escapism.

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Cian McConn


Galway, Ireland

A visual artist who makes collage, photographs and performance pieces often with others. Completed BA in fine art at the Crawford College, Cork in 2005. He has shown internationally and currently lives and works in Ireland.

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Christine Mackey

Christine Mackey employs diverse disciplines, subject matter and tactics in devising works that can generate different kinds of knowledge of place, their hidden histories and ecological formations.

Using diverse graphic sources and production methods, Mackey’s work explores the interactive potential of drawing and its capacity for social, scientific and environmental research.

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Chloe Freaks

CHLOE FREAKS co founded MART in its initial set up in 2007 & 2008 and helped co-ordinate its initial exhibitions.

Chloe completed a degree in Film, Television & Scenography studies in Aberystwyth, Wales. She works in Various styles of Art, including Installation, Prop Making.

Chloe has worked as an Art Director in Television for BBC and TG4.

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Camilla Fanning

Camilla Fanning Biography

Camilla Fanning is an Irish artist based in Dublin. Her primary medium is etching with an interest in innovative techniques. Her practice includes printmaking, life drawing, digital techniques and expanded sculpture.

A recurrent theme of her work is collective memory and shared imaginings, in particular of the Irish landscape.  This year she has focused on research and creative development, anatomical life drawing, and is working towards an exhibition in Norway. Recent New Media work explores the dark side to traditional childhood games with a satirical-political edge.

She has just had her first solo exhibition in the very trendy art café ‘Digby’s Deli Diner’ in Dublin. Her work has been exhibited in New York and Dublin, is in private collections in Ireland, the UK and New Zealand, and has been included in several open submission curated exhibitions.  She has studied in Dublin, New York and Berlin, and worked in Milan and London. Camilla is an arts award recipient from the Irish Arts Council and Dun Laoghaire Rathdown Co Co.  Her work is available in several art galleries including the Graphic Studio Gallery which is the main fine art print gallery in Ireland.

She is an OA Member the Graphic Studio, Dublin, Attends the Royal Hibernian Academy Life Drawing Sessions, and member of ThreeRockArt, DLR arts Network, and a professional member of Visual Artists Ireland.

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Bonnie Jeanne Lawless


I am interested in creating psychological portraits that tell a story about an individual or address relationships of identity, both of oneself and others. I always add personal aspects of my own life, as I believe the more intimate the work the more universal. Visually, I use aspects of kitch and humor as well as use a bold and varied color palette.  I work in several mediums including painting, photography, printmaking and video


As part of the Invoke Street Art Initiative, two pieces entitled “Masquerade” and “Luv-Aid” will be on display on traffic-light control boxes at two locations in Temple Bar, Dublin. Invoke Street Art is an exciting new public art project, increasing the use and enjoyment of public space. The project will turn traffic signal boxes in five locations in Dublin, which in many cases may be vandalized with graffiti, into a platform for original, imaginative artwork. The boxes are located in Parliament Street, Fishamble Street, Essex Street, Eustace Street and O’Connell Bridge. Public art projects utilizing these traffic signal box are already in operation worldwide in places such as St Benedicts Florida, Santa Cruz L.A, Staten Island New York and Halifax Canada.

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Benjamin Gaulon

Issues like e-waste, obsolescence and disposable society have been the focus of my practice and theoretical research. Since 2005 I’ve been leading workshopsand giving lectures in Europe about e-waste and hardware Hacking / Recycling. Workshop participants explore the potential of obsolete technologies in a creative way and find new strategies for e-waste recycling.

My research seeks to establish an inter-disciplinary practice and collaborations by creating bridges between art, science and activism, and by doing so, shifting the boundaries between art, engineering and sustainable strategies.

The Rubbish is what is lost after using a material. It’s also a product without any value. It’s something that we don’t know how to use or what to do with, a resource that waits for a use or can’t be used because of a technological gap. The rubbish is connected to the idea of property, or to be more precise it’s an object without any owner, so when something is trashed it becomes public property.


A trashcan is full of material: information data that can be used or reworked into a finished form.

Check Out:

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Barry W Hughes


Barry W Hughes / Bahs holds a BA in Fine Art Media from the National College of Art & Design (Ireland). He is an independent multimedia artist and has exhibited photography, video, audio and Internet projects throughout Ireland and internationally, including China, USA, UK and Germany. He has been published in many print and online magazines such as Gomma, Circa, FStop and Drain. Hughes is the founding editor of SuperMassiveBlackHole online photography magazine.

Hughes chooses everyday objects and situations to explore ideas such as incidence, coincidence and accident, motivated by a desire to understand the tension between the intentional and unintentional gesture.

Hughes has been previously supported by Arts Council of Ireland; Culture Ireland; Consulate of Ireland; Visual Artists Ireland; Asia Europe Foundation.

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James Ward

Artist statement

James Ward’s current work is informed by the experience of wakening up unable to breathe a result of a virus known as Croup. He was cured through the breathing in of steam and which lead him to experiment with this immaterial medium. The projection of both stills and video on to the steam leads to not only to a constantly changing performative image but the creation of a humid steam environment. The fleeting nature of these images and the ease at which they can be affected by subtle movements of invisible forces is one of its strengths creating much of the poetics of the work.

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Ciara Scanlan


Ciara Scanlan is Visual Artist working in site-specific video and performance based work. Her work is concerned with her place in modern society and an attempt to make sense of it. In her work she hopes to create space in which she free to explore and challenge personal and social limitations through performance and invention. To every action there is an equal but opposite reaction.

Ciara is currently studying for her MA Art In The Digital World at NCAD and is a graduate of Crawford College of Art Cork 2005 with first class honors. Ciara was quest Artist with Artspace studios for 2 years and is the founding member of MART Art Group who exhibits widely in Ireland and have upcoming events abroad. Ciara has had work shown in the Galway Arts Festival, Tulca, IMOCA and has solo show to be announced in Dublin.



Diploma show Lough community centre- work purchased by city council.

‘Inside, Out’- Group show UCC, Cork

‘Enso live’ Black Box, Galway


Degree Show- “Talk Less”, Crawford College of Art.

‘8×8′ Group exhibition, Galway fisheries tower.


‘Chimera’ Group exhibition, Galway Art’s Festival

‘Climb’ Tulca, Solo show, Artspace studios, Galway


MART@MUSUME, Galway City Museum,

‘The Art Cart’, Tulca Festival, Performance, ‘Art for free’


Galway Arts Festival 2008, The Thatch, Henny St. Video Installation

‘Meat Media’: Tuam Arts festival, Video Installation.


‘CAMERA OBSCURA’MA GROUP SHOW: Lighthouse Cinema, Smithfield, Dublin

‘Is This the Place’: Group show, IMOCA, Irish museum of contemporary art

‘There will be time’ Video Installation, SHUNT, LONDON BRIDGE


‘Love Machines’: Galway Arts Festival, Video Installation/performance

‘This is not the title of the show’: Group show, Rotar 1, Goteborg, Sweden

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Matthew Nevin

Matthew Nevin is an experimental Film & Installation Artist working in Ireland, UK and the US. Matthew completed a presentation and performance for media certificate in BCFE, Dublin and went on to receive an Honours Bachelor Degree in Film & Television and Scenography (Design) studies in Aberystwyth Wales. Matthew also works in the Art Department in Film, Television & Theatre working as an Art Director and Designer. He has previously worked for the BBC, MTV, RTE, TG4, Element Pictures and ITV. During which he accumulated vast knowledge on production and artistic practices within film, television and theatre production.

In 2006 Matthew’s Scenographic work led him to design an innovative piece ‘Fear Omens – Tonal Therapy’ at UWA, UK. In 2007 through his work ‘ Trading Pavements’ -’ U R Portrait’ Matthew focused on the individual self and secondary persona.

During 2006 Matthew cofounded MART ( a new initiative to provide a platform for experimental film, new media, installation and performance artists to showcase their work. In 2008 Matthew co curated several events through MART including ‘The Launch’ @ Silkes Galway, ‘Challenging Behaviour’ at Galway Arts Festival. While curating these events Matthew exhibited installations such as ‘i!’ , ‘A.D.’ and ‘Selfish Duck’.

In 2009 Matthew co curated Mart events such as ‘Mart @ Pogo’, ‘The Free Art Project’, ‘Mart @ IMOCA’, ‘MART @ SHUNT’ and ‘Open Door Policy’ at The Galway Arts Festival, while showing his own work ‘D.I.R.T’, ‘D.I.R.T #2’, and ‘The Expansion Effect’ in Dublin and London.

In 2010, Matthew showed a preview of his new Experimental Film The Core Project in ‘An Instructional” European tour – which is funded by Culture Ireland, with shows in Ireland, UK, Germany, Norway and Slovakia. Matthew also showed in ‘The Lewis Art Gallery’ in Mississippi USA.

For 2011 Matthew due to complete The Core Project, which will be shown in Shunt-London, Dublin & Galway Arts Festival & submitting to Irish Film Festivals.  Matthew is also working on ‘The Stew’ an experimental film based on Irish immigration & early RTE transmissions to be shown as part of Imagine Ireland in C4 Gallery-Los Angeles, PopupLoop-Chicago, NewYorkStudioGallery & Rua Red in Dublin.

Also in 2011/12 Matthew will be work with Screenworks Ireland & USA’s KSA Prods & Canada’s LongIsland Prods to Direct an Experimental Film on Mart’s Invite or Reject exhibition in the USA & Dublin, due to air on RTE & US Cable network & festival releases in 2012.

“At surface, I wish to immediately make an impact, grab the viewers attention, keep it, intrigue them, educate and stimulate their senses. I seize the audience by encapsulating them in my work, connecting curiosity with imagination and enthrallment.

My current work focuses on self-reflection through the evaluation of identity; I wish to explore the workings of inner exclusivity and focus on the depiction of the body, existence and create a character of work conscious of identity and inform the viewer in the format of life.  I strive to use innovate methods in my work, utilizing innovative technology to common recognisable materials.” |



The Core Project is a Visual Art endeavour I devised and am collaborating with Artists and people across all the nations of the world to create one piece of work broadcast to millions.

This Video Art Project shall contain 200+ Videos, one entry representing each of the Sovereign States or Countries of the world.


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Artist Statement / Biography.

Adrian Duncan is a Dublin based artist. His practice is based in sculpture, drawing, video and writing.

His work deals with the overlap between engineering and art, particularly in geometry and material. He investigates this through sculpture / installation.

His writing / video and drawing work is also employed to create fictional and non-fictional narratives that move from the absurd, to the historical, to the technical and the natural. These narratives are used to address cultural and conceptual issues.He studied and worked as a structural engineer, in the U.K. and Ireland for over a decade, before returning to study fine art at I.A.D.T. His work, conceptually and aesthetically can be derived from this background.

His has exhibited in CHQ, Turn-Berlin, MTSL, The Joinery, Pallas Contemporary Projects, and The Lewis Glucksman Gallery, U.C.C.

He is assistant editor of Paper Visual Art, to which he also contributes. He has written a number of commissioned essays for Some Blind Alleys and written fiction for Oh Francis.

He has provided illustration work for: The Scotsman, CandyCulture, The Paris Times, Shop, The Phoenix and Oh Francis.

For More Info Visit Adrian’s Website:


David Bickley

Artist statement

My audio visual works/installations are abstracted, largely process led adventures mainly on themes of nature/landscape  but also with points of reference to mythology and symbolism. They rely heavily on texture and mood and tend to sacrifice the topographical in an attempt to capture the spirit of the places depicted using memory or feeling. Other works are digitally manipulated landscapes designed to evoke a sense of animation and accelerated time-scale.

My education encompassed the practice, theory and history of film. television and sound and took me from Bournemouth College of Art and Design in Dorset, England and finally to  West Surrey College of Art and Design (BA 1981). I was senior producer at RTE [Irish state Broadcaster] Cork 1995- 2001 before forming Alchemy Electronic Arts and producing a number of independent film projects. Having always practised as an artist using a wide range of media, I began the most recent work in 2004  and have been encouraged by the reception of my work in recent exhibitions.

Please visit David’s Website for more Video & Audio work:


2009 – MIRE CURVED EDITION, BODY & SOUL, Electric Picnic Boutique Festival, Co. Lois
2009 – THE GLASS BOOK Bantry Literary Festival/various  venues on tour
2008 – DEEP SPACE IMMERSION CHAMBER  Art  Trail/Blackrock Castle Observatory, Cork
2008 – EXILES, major touring large scale work for Cork

Harbour Commissioners

2008 – BODY & SOUL, Electric Picnic Boutique Festival, Co. Lois
2008 – GOLGOTHA, St Fin Barre’s Cathedral Cork
2008 – CALVARY, St Fin Barre’s Cathedral Cork
2007 – TAKE ME HOME SESSIONS, The Big Chill Festival,  Eastnor, England
2007 – MIRE LE, Tayt Gallery, Cork
2006 – MIRE,  West Cork Arts Centre, County Cork, Ireland
2005 – FUTURE LAND – A STRANGE AWAKENING, Crawford Municipal Gallery, Cork

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Celeste Najt


Celeste Najt is an artist from Buenos Aires, Argentina. Her art passion began at the primary school, where the art class represented a moment of calm and elevation. At the age of 16 she started to do mixed media collage as an everyday exercise, materializing her feelings.

She has a degree in Photography (Escuela de Fotografía Creativa) and she has also studied Art at the National University Institute of Art (IUNA) for several years.

So far her works were exhibited in Buenos Aires, Berlin, Miami, New York, Carlisle (UK), Amsterdam, Amersfoort and Gothenburg.

In the year 2007 she opened the art gallery El tigre Celeste in Buenos Aires, with the artist Clara Celeste Bakota , in order to promote emerging art and provide her work with an appropriate exhibition framework.

Nowadays Celeste lives between Europe and Argentina, following the path of her creative improvement and working everyday in tuned in her perception with the present lifetime. The main intention of her work is to embrace a reflect of reality by the combination of different natures, different art techniques, different feelings and different ideological conceptions. Looking for inspiration in landscapes, persons, and those unrepeteable fragments of time, in which everything seems to be perfectly engaged. With all this stuff she makes combinations inviting the viewer to bring some of her shiny visions into our world.



My work has the intention of the realization of an unexpected use of the matter. Leaving aside the obvious path, the one indicated in the manual, trying to realize an different approach to the Artwork as a changing concept.

My intention when creating is to manage to generate a work-spectator game in which habitual perception is replaced by a new perception. Either by taking almost ignored elements from daily life and placing them in the spotlight in the piece or from photographs of places I visited.

My work is an experiment with elements which, on their own, cannot attain what they manage when they are interrelated. A sort of socialist utopia is thus created, which is realized effectively on canvas. Reciprocal relationships, equality, the possibility of creating a ‘whole’ from the ‘parts’, something that seems to be further and further away of really coming to happen in present-day societies after the complete loss of the sense of ‘tribe’ or ‘community’ and the advancement of the every day more predatory decaying capitalism that fractures everything and upsets the balance. My reply to such phenomenon is to seek balance in a virtual manner, inventing an answer for the deficiencies of real life in my work, something like a parallel society or a more peaceful world to inhabit in which we can see ourselves reflected and which we might feel inspired to turn into our reality.







– 2013, September 30th: Ono Gallery, Oslo, Norway.

– 2013, September 6th: Salongen Rom for Kunst, Bergen, Norway.

– 2013, Mind States, Cleerdin & Hamer, Amsterdam, Netherlands.

 2013, The Unexpected Part of Life, Wäscherei Kunstverein, Zurich, Switzerland.

– 2013, Geography Studies , OG9 Ateliers, Kunsthaus Aussersihl, Zurich, Switzerland.

– 2012, Why Can´t Life Always be this Easy?, NDSM Treehouse, Amsterdam, NL.

– 2012, Vital Excursions, Rum 26 Gallery, Gothenburg, Sweden.

– 2012, Painting the New Path, AWA Gallery, Amsterdam, NL.

– 2012, Polaroids, The Observant, Amersfoort Fotostad, Amersfoort,  NL

– 2009, How to Draw a Map from Buenos Aires to Badger Badger, Badger

Badger Projects, Carlisle, England.

– 2008, Bonus Track Time, Praxis International Gallery, Buenos Aires, Argentina.

– 2008, Registro de Viaje, Apice Arte Gallery, Buenos Aires, Argentina.

– 2007, Changing your Mind, INC Berlin Gallery, Berlin, Germany.

– 2006, Post Europe Sensation I, Villa Borghese Gallery, Buenos Aires, Argentina.



– 2013, Open Ateliers Noord, Amsterdam, Netherlands.

– 2013, Tact, Supermarket Art Fair, Kulturhuset, Stockholm, Sweden.

– 2012, Flamboyant Fusion, PUP Gallery, Amsterdam, Netherlands.

– 2011, Movistar Arte Joven, Centro Cultural Borges, Buenos Aires, Argentina.

– 2011, Tetris, Consorcio de Arte Gallery, Buenos Aires, Argentina.

– 2011, Polaroid, Wussmann Gallery, Buenos Aires, Argentina.

– 2009, Summercamp, Exile Berlin Gallery, Berlin, Germany.

– 2009, El tigre Celeste at Y gallery, Y Gallery New York, NYC, USA.

– 2008, El tigre Celeste flies to Miami, Art Vision Gallery, Miami, Florida, USA.

– 2008, Zoom – El tigre Celeste, Dacil Art Gallery, Buenos Aires, Argentina.

– 2007, Skycraper Collective, El tigre Celeste, Buenos Aires, Argentina.

– 2006, El tigre Celeste, El tigre Celeste Gallery, Buenos Aires, Argentina.

– 2004, Estudio Abierto, organized by Buenos Aires Government, Argentina.



– 2013, Kunstnarhuset Messen – Ålvik, Norway. (August – October)

– 2013, Taoh Residence, Tou Scene , Stavanger, Norway (August)

– 2013, Index Freiraum, Kunsthaus Aussersihl – Zurich, Switzerland. (February – March)

 2012, Kunstenaarlogies – Amersfoort, Netherlands.

 2012, 24 hs Residence, AWA, OT Gallery, Amsterdam, Netherlands.


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Niamh Heery


Niamh Heery is a multimedia artist from Dublin. She graduated from IT Tallaght in 2004 with a Higher Diploma in Audio Visual Media. Before returning to education in 2007, she worked in the area of contemporary music and media, making documentaries and short films which appeared at festivals around Europe. In 2009 she graduates from the BA in Visual Arts Practice at IADT, Dun Laoghaire, specializing in multimedia installation work. Her work has been exhibited in Dublin, Cork, Kerry and France.

Artist statement

My work is concerned with linking the machinations of  power to the individual. It attempts to connect the viewer from current issues by placing them in a context where they are faced with familiar ambiences, which often give way to foreign, uncontrollable motifs. The present is often represented as the past; monumental actions are interchanged with tangeable, familiar movements or images. The sense of distance which is achieved serves to bring about an awareness of the present. I like to present sound or the moving image with objects that work to bring about a mise en scène within the work.

‘Double Scapes’ photography series. Double Scapes is a series of pictures dealing with social and political double standards, and their expression, application and naturalization in modern society.

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Molly O'Dwyer

Artists Biography

Molly O’Dwyer (b.1980) is a visual artist from Dublin, she has just completed a two year research Masters in Fine Art at the National College of Art & Design, Dublin. Her work is critically aclaimed and has been shown both nationally and internationally, amongst these include EV+A 2007 Limerick, HOUSE projects and CEAD in China. She was awarded one of the Young Emerging Artists in Ireland following work from her degree show which she also received first class honours from Dublin Institute of Technology in 2006.

Artists Statement

Interdisciplinary in nature, my practice employs the use of mediums such as video, sculpture and installation, focusing strongly on the moving image within the context of contemporary art.

Research concerns explored through these mediums revolve around an interest in the human condition and its interaction with living space and everyday life, challenging the behavioural codes by which we live. The boundary between public and private is examined through exploring these concerns as an analogous parallel to the physical and the psychological, the body being our primary experience of the world from the corporeal to the mental. In performing for the camera, everyday objects and familiar landscapes act as both material and prop for the exploration of this terrain that exists between these two inseparable forms of reality, as central to our perception of the world both internally and externally.

Pathos and the tragicomic implicate the viewer on a psychological and emotional level through the use of simple bodily gestures with elements of order and chaos through absurd actions performed for the camera. Aspects of popular culture and the cinematic are referenced in the work through a merging and co-existence of fiction and reality. My practice draws interests from film theory and the role of media in society asserting the use of the video camera as core medium for the exploration of the issues in the work.




Laura Fitzgerald

My work spans different mediums and scale. Firstly research is a primary concern, together with a concept in mind and then allowing forms and structures to be realised with as much freedom in relation to finance and space as possible.

I work on concepts involving human experience, memory and the idea of interconnectivity and the fragility of life. My work concentrates on examining life with scientific focus, looking at unseen connecting entities, relating memories and personal circumstances to objects and forms.

Looking at quantum physics and mental illness, I fell inspired to create links and subtle connections between the above, in the hope to create a type of whimsical humour.

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Jane Cassidy

Jane Cassidy is an composer/animator from Galway City. Jane’s main interests lie in visual music, live Vjing, electro-acoustic composition and multi-channel work. In 2008 Jane completed a Masters in Music and Media Technologies from Trinity College Dublin.

In her work, Jane attempts to combine audio and visuals to create a type of associative synaesthesia.

Previous Exhibitions
Visual Music Performances

Punto y Raya Festival, Madrid, 2011
Art Farm, Nebraska, 2011
Understanding Visual Music Conference, Montreal, 2011
Mart, Dublin, 2011
Sensorium, Dublin, 2011
Kaleidoscope, Dublin, 2010
Galway Arts Center, Galway, 2010
SARC, Queens University Belfast, UK, 2009
Dark Light Film Festival, Irish Tour, 2009

Selected concerts

Irish Composers Collective, National Concert Hall, Dublin, 2009
York Spring Festival, York, UK, 2008.
New Theatre, Dublin, 2008
Node, Project Theater Dublin, 2006

Music For Theatre

Low in the Dark by Marina Car, Samuel Beckett Theatre, Dublin, 2007

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Gavin Campbell

Gavin Campbell is a visual artist based in Derry, Ireland. He studied sculpture and video at Belfast art college, university of Ulster. In his practice he employs varying visual media to construct video/audio, performance and sculpture installations that study themes of identity senses of mental and physical positions and displacements, that address our understanding of ownership and alienation spaces and places.


2011 – Water Tower Art Festival-Underground Serdika-Sofia,Bulgaria
2011 – Modern Panic – Guerrilla Zoo Gallery – London
2011 – The Trans-Siberian Arts Centre – ‘New Works’ film and video Exhibition – Moscow/Beijing
2011 – SITE fest – 3rd Ward Gallery – Brooklyn – New York
2011 – The Trans-Siberian Arts Centre ‘Postcard Exhibition’ – Moscow/Beijing
2010 – STOFF – Stockholm Fringe festival. ‘Borders’ – Sweden.
2010 – Ulster arts festival, ‘Masked’ – Belfast. Ireland
2010 – Catalyst Gallery, ‘SHAMBLES’ – Belfast, Ireland
2009 – Catalyst Gallery, ‘Ye better get born some place else – Belfast, Ireland