Practice Presentation

Presentation at the beginning of the MA in Arts and Process to introduce my previous and current practice:

 

My work addresses philosophical questions on existence and understanding ourselves through space we inhabit with a focus on architectural elements such as doorways, tunnels, and windows. These “portals of the unknown” represent curiosity.

At the time of these works I was highly influenced by Toba Kheedooris huge wax drawings that appear to have an extra dimension to them due to the opacity of the surface, the focus on minimal elements and even the ingrained dirt from her studio floor. I like the idea that the process is visible in a layer within the work,————–11 feet x 19 feet 3 inches

Toba Khedoori, Untitled (Chain link fence) 1996, Oil and wax on paper

Continuing with the idea of dimension, I was interested in bringing my drawings of the space I wanted to describe onto a 3d plane, beginning with folding the wax paper and making maquettes. I wanted to describe a calm, quiet but eerie or uncertain space like the buildings I had experienced on a study semester in Poland. A series of corridors, Portals. Representing the inevitable uncertainty of existence.

 

 Passage, sculpture made from welded steel, wood, flax, waxed paper, 18 x 22 feet square length, 6ft height x 3ft width, Beyond Dialogue, CCAD degree show exhibition, June 2017 (each section pre- installation 2 x 3 x 6ft, 18 sections in total)

 

 Myself and five former drawing elective classmates got together to meet up and form a collective. Our idea is to as a contemporary drawing collective. We held our first site-specific live drawing performance event in October, followed by a group exhibition in CIT Wandesford Quay Gallery. We wanted to make it quite intuitive and we all responded to space individually.

My response involved drawing slowly but continuously on rolled paper with charcoal to record the passing of light through the gallery over the 7-hour performance period. I worked silently and mindfully on the floor as I felt that the space gave me a feeling of peace. The softness of the combination of the artificial light and natural light on an Autumn day made it a meditative process. I focused on describing the artificial and natural light and their interaction upon the architectural elements with the charcoal. I mapped the changing light as it penetrated the space and the resulting shadows, implementing slow, deliberate movements as I swept, rolled, and unrolled the paper and gathered my materials to change viewpoint.

The resulting drawing for the subsequent exhibition was a direct response to the passing of a day’s light in a gallery presented in a linear narrative with Minimal elements. The reason I feel this work is important as I was making the work within the space in an intuitive manner, how the space made me feel. The restriction of being unable to select and edit the drawings.

My most recent practice involves the research of historical buildings and manmade structures in Cork City.I took a picture of the old Boole house, the pigeon in the window looking out on the first floor.

The Ghost of George Boole, Acrylic on Canvas, 39 x 39 inches, 2017

DuringBoole’s time at Grenville Place he wrote his masterpiece An Investigation of the Laws of Thought, which was published in 1854 and centred around his theory of logic and probabilities. From the first floor window of this house, Boole used the prospect before him to illustrate in his book the theory of probability, while giving a flavour of his living environment. His word picture is based on his view across the river, with Boole speculating on the probability of flooding

The odd doorways and mixture of architecture in Cork are what I notice most days. Sundays Well in particular. Pastel paint colours contrasting with the murky greys These steps and doors built into huge high walls on the steep walk up the hill.

These research paintings were made most recently from books assembled on my desk and from photographs I took on a visit to the Holocaust Memorial in Berlin designed by architect Peter Eisenman and engineer Buro Happold. Large sculpture which can be walked through and immersed in. The monument is located on the former location of the Berlin Wall, where the “death strip” once divided the city.

I am interested I continuing to explore dimensionality and the philosophy of space as experienced and site-specific work, exploring the drawing space and drawing on a large scale, interested in both narrative and dimension. I like to make work in the place between when a sculpture becomes a drawing and vice versa during my process

I have been painting lately for medical reasons, drawings are taking form in paint but I wish to work predominantly in largescale charcoal drawing, however, as I enjoy the tonal range, velvety texture and intuitive mark-making that the material can produce.