ARC Student Projects 2020
All ARC 2020 students participated in a group show, Unassembled, curated by Julia Moustacchi at the LAB Gallery in January 2020. Documentation of the exhibition is available here
Read Audrey Walshe’s report on Unassembled, published in the Visual Artists’ New Sheet 100 (March 2020) here
Further information on each project:
Brenda Brady makes small-scale works on paper that explore and exploit the affective potential of colour and texture. Her process often begins with a response to organic forms and handmade objects encountered in her own domestic environment, such as plants, ceramics or other semi-functional things. She has developed an intuitive methodology that sometimes begins with observation but while figurative references are important in her process, they are usually obscured in the finished work, which is structured around a dynamic of ‘hide and reveal’ that balances the obscured with the visible. Each piece is constructed through multiple stages of assemblage, layering and folding, with one painted surface frequently laid over another. The works are typically displayed as spatial arrangements, in configurations determined by colour.
Anishta Chooramun’s work is informed by the diverse components that create contemporary society. She sees society as a jigsaw puzzle, which functions through co-existence and co-dependency. Anishta is curious about how humans affect each other, and how they conceptualise identity. She avoids overt representation of the human figure, and instead works with a combination of geometric and organic forms. Right angles imply order, mathematics and rationality, but they are combined with colour, curves and surface textures that signal action and movement. Anishta has recently begun to explore dance as a language, focusing on a classical Indian dance form called Kathak, originally performed by travellers. The Kathakars communicate stories through rhythmic foot movements, hand gestures, facial expressions and eye work, functioning as a kind of sign language. Anishta’s sculptures incorporate references to these gestures and movements, and her research process is informed by collaboration with a Kathak dancer.
Heather Cody is a Wexford-based photographer. Her work is a documentary response to the housing crisis in Ireland, with a specific focus on the experiences of homeless people based in her local area. She developed her project during 2019 through conversations and interactions with people living in tents under Wexford Bridge and in other isolated places. Through a combination of audio, text and photographic portraits, produced with permission, she documents a range of living situations. Some homeless people in Wexford live in tents, while others sleep in cars, shop doorways or the men’s hostel. Heather draws attention to personal histories and individual lived experiences of homelessness, and the lack of services for specific groups of vulnerable people, such as homeless women and children.
Penelope Collins explores an overlooked history of dance in Ireland through the archives of a Dublin Ballet school and company. Her research began with the discovery of a collection of letters in a hatbox belonging to her mother Patricia Ryan, a ballet teacher and choreographer. She set out to uncover the history of the school, through interviews and conversations, gaining a greater understanding of her mother’s artistic life and personality in the process. The archive currently includes rare film of rehearsals and performances, theatre programs, photographs and her mother’s teaching notes, written in French, as well as materials related to the first performance by Russian ballet dancers in Ireland. It also features letters exchanged with prominent writers, dancers, teachers, composers and conductors, including Samuel Beckett, Ninette de Valois, Nadine Nicolaeva-Legat and Micheál Mac Liammóir, among many others.
Collette Farnon’s work interrogates outmoded ideals of womanhood, focusing on an extreme femininity that is both narrow and repressive. Working with a range of media, from video and drawing to sculptural installation, she explores the persistence of indecisiveness, sexual subservience and passivity as stereotyped attributes of the feminine. She frequently combines theatrical modes of staging with exploration of everyday actions and objects, using humour and the absurd to comment on conventional standards, measures and norms of femininity, particularly with regard to beauty and skill. Her videos and installations are motivated by a critique of conventional ideals and attributes of masculinity, such as decisiveness, anger, the assertion of sexual independence, and displays of physical strength.
Lisa Freeman works across scripted performance, video and sculptural installation, borrowing elements from self-help books, archival material and mainstream media. In her installation Brows For Days at the LAB gallery, Freeman engages with the formal properties of both architecture and language, drawing columns, windows, graphics and punctuation into proximity. Operating on the periphery of attention, her work utilises familiar symbols, including letter forms, to show how aspects of advertising language can seep into everyday experience in public and private encounters. Muted tones and transparent materials are arranged in an assembly of chaos and control, making connections between inflated things; bills, lungs, bellies, airbags, egos.
Marie-Louise Halpenny takes photographs of places where traumatic events have occurred. Her work, Under Reservation, is informed by analysis of the language commonly used in journalistic accounts of street crime and violence. She extracts textual elements from these accounts, but in her photographs she carefully resists the straightforward depiction of violence, and its consequences. When constructing her own images, she employs a deliberately detached perspective. She frequently makes subtle alterations to the photographs during the post-production process and, in some instances, combines multiple images to produce a single large-scale photograph. By introducing an element of unreliability into these images, she distances them from photojournalism, seeking to create a space for reflection.
Marie Phelan‘s work explores belief systems, ritual and their connection to place. She considers how beliefs can change over time, and sees this as important in understanding the present moment. She uses video, audio, sculpture and drawing to create an often imaginary world and communicate her research. Shapeshifter examines the traces of beliefs that persist within our landscape, focusing on their transformational qualities and subsequent ways of being. It is informed by cultural histories and archaeological research linked to the Oweynagat cave in Co. Roscommon. Sound has the ability to haunt a physical space and Shapeshifter uses audio and the acoustic properties of a specific place to establish a direct connection with an earlier era. Field recordings and observations of crows at dusk permeate the work through sound and material forms, including a beak-headed figure that stalks the landscape.
Dylan Ryan has been documenting the Cherrywood development in South County Dublin for the past three years, photographing ‘the other side of the hoarding’ on a regular basis. His process is about getting in close, reading the maps, reading the signs, and avoiding security. Mapping the construction of Cherrywood frame by frame, watching the landscape transform, he observes and records as the pieces of this new habitat are put together. He was drawn to the Cherrywood development because of its massive physical scale and budget (approximating two billion euro) and the rumours of corruption that have circulated around planning permission. His project is a ‘post-re-vision‘ of the corporate vision for Cherrywood, referencing the temporary advertising architecture that is now commonplace on building sites, depicting utopian idylls and making promises with texts and images.
Audrey Walshe’s practice has always revolved around flowers and she draws inspiration from seasonal patterns and cycles of growth. Sometimes working collaboratively, and often incorporating foraged flowers, she uses botanical materials to invoke memories of a specific time and place. Even though flowers are immediately perishable, they are intrinsic to her process and she is especially interested in tensions generated by working with a deteriorating material, and in processes of collaborative production that are temporary. Working with themes of decay and temporality, her sculptural installations use floral and plant material to manifest a state of impermanence, which she sees as ultimately hopeful. Audrey also investigates the commodity culture that surrounds flowers, focusing specifically on what is hidden from consumers in the global flower industry. At present she is expanding her own cutting garden for the new season and growing many of the materials needed to realise her upcoming projects.
ARC Student Projects 2019
Exhibition Friday 15 March – Thursday 28 March 2019
Venue: O’Reilly Institute, Trinity College Dublin, open 9am to 5pm, Monday to Friday
Consider the medical implant, a device developed to reside within the human body for the purpose of extending and enhancing life. Now consider that this sophisticated and often tiny piece of technology might actually be crafted by hand in a highly skilled and laborious process. Such is the case with the prosthetic heart valve which is painstakingly hand stitched in a process taking two to three days to complete a single valve. The very technology used to fundamentally alter and transcend the human condition relies on the ancient craft of hand sewing for its manufacture.
Foreign Body is an exhibition by artist Judy Foley that explores the high-tech medical implant as a handcrafted object. The exhibition will be opened by Anne Mullee, curator of The Courthouse Gallery and Studios, Ennistymon, Co. Clare, and will include a guest talk by Bruce Murphy, Assoc. Prof in Biomechanical Engineering, Trinity College Dublin. A handout will accompany the exhibition, designed by writer and artist Eoghan McIntyre and featuring a conversation between Anne Mullee and Judy Foley.
This exhibition has been informed and enabled through interdisciplinary collaboration within the team of Bruce Murphy, Assoc. Prof in Biomechanical Engineering, and funded investigator at AMBER, the Science Foundation Ireland Research Centre for Advanced Materials and BioEngineering, at Trinity College Dublin, where Judy is currently an artist-in-residence. The exhibition is part funded by the Trinity College Dublin Fund for the Visual and Performing Arts.
Paradise Is Too Far
Exhibition Saturday 30 March – 1 May 2019
Venue: Arais Inis Gluaire, Belmullet, County Mayo.
Paradise Is Too Far is a solo exhibition of current work by Martina Coyle, which explores the control of wildlife and the universal instinct to seek shelter. The initial impetus to research and develop this work came from seeing a photo on the internet of a tree covered with anti-bird spikes. These devices are widespread in urban landscapes and are often deemed acceptable when placed on buildings. However, an anti-bird spike on a tree is a different matter. This work questions the human desire to control how birds access spaces to nest or rest.
Martina Coyle is a Westmeath-based multi-disciplinary artist whose practice is made up of three inter-related strands; studio-based artwork/ installation, public artwork and art facilitation. Martina has exhibited extensively in Ireland and France. Her many commissioned public artworks, which range from permanent to ephemeral, includes collaborative and residential public projects in various locations around Ireland.
Becks Butler, Astrid Newman, Ciara Roche
Exhibition for one night only: Thursday 4 April 2019,
Royal Irish Academy, Dawson St., Dublin
meatspace is an exhibition that ends almost immediately after it starts. Taking place in the Royal Irish Academy on Dawson St, you’ll have exactly two hours to catch a glimpse of what could be loosely described as a combination of compatible and conflicting narratives that are partially resolved but continue to evolve. Bringing together the research of Becks Butler, Astrid Newman and Ciara Roche, the show explores human behaviour within shifting environments, questioning modes of adaptation.
Becks Butler is a lens-based artist and curator. She exhibited her solo show ‘Pushing Boundaries’ at illuminations in 2017 and has presented work in various group shows. Her collections have been purchased by the Royal Irish Academy and various private collectors. Becks recently curated Vera Ryklova’s ‘Aesthetic Distance’ at Triskel Arts Centre. Astrid Newman is a performance and video artist, she has exhibited and performed in numerous spaces in Japan, Britain and Ireland. She is currently a curatorial research assistant at The Lab Gallery, Dublin and is co-founder of conch.fyi an online platform publishing weekly artist interviews. Ciara Roche is a painter. She has shown extensively in group shows throughout Ireland with a solo show in Lismore Castle Arts in 2016. Her work is in many public and private collections throughout Ireland, Britain, USA and China. Together the three artists are recipients of the 2019 Wexford M11 percent for art commission.
gharlands & wolves: parables in yellow
Podcast goes live on Soundcloud on Thursday 11 April 2019, 5pm.
gharlands & wolves: parables in yellow are episodes of rapt moments, with the temporality of a concentrated gaze; a brief loss of self to the here and now of an artwork recounted, where bodily sensory perception might oscillate in the hovering suspension of the imagination. These episodes are suggestions to the listener, an emotional demand. The perceptual framing of gharlands & wolves relies on the promise of storytelling suffused with sensuality and the vile, a conduit through yellow. Promises are of primrose, sherbet fizz, soft lemon satiny silk. Blonde tones of naples yellow, pale ochre creamy flesh tones gush smooth, shaded pink from raw to burnt umber shadow.
gharlands & wolves: parables in yellow are recorded for podcast to be released on Soundcloud, conceived and written by Andrea Neill, produced by Ana Carolina Vitória.
Kamera 8, Rowe Street, Wexford Town
Exhibition Friday 12 April – Tuesday 16 April 2019
This exhibition is a response to a specific historical object, a silk embroidered collar, which was hand woven by Elizabeth and Lily Yeats and worn by Countess Markievicz circa 1920. The collar has been borrowed from the Wexford County Archive and it will be placed on view in the gallery for the opening night only, and then returned to its permanent storage. The silk floss threads of the collar, hand stitched in a Celtic knot work design, are explored in a series of large painted Cyanotype prints, displayed on the gallery walls. Inspired by the obscured history of the Yeats sisters, these Cyanotypes are made using the light of the full moon.
The Probable Causes of Future Experience
Exhibition continues Friday 26 April – Sunday 5 May 2018
Venue: The Darkroom, 32 North Brunswick St., Stoneybatter, Dublin 7
Through paper collage works, photographs, stop-motion animation and fragments of sound and text, The Probable Causes of Future Experience takes the viewer on a surreal trip to an imaginary world where the actions being carried out are unclear and at times unsettling.
The Probable Causes of Future Experience is an exploration of what it is to experience the world from a child’s perspective. Using materials drawn from instructional manuals, illustrated encyclopaedias, family health guides, books about wildlife and the natural world, this work investigates the power dynamic between adult and child and the shifting boundaries between adulthood and childhood.
ARCHIVE: ARC Student Projects 2018
In March-April 2018, ARC students are presenting projects at various venues:
Wednesday 7 March 2018, 6:30pm
Venue: Science Gallery Dublin, Trinity College Dublin.
Yvanna Greene, SuperNatural Plastic Eaters
Imagine plastic breaking down in the stomach of sea creatures, transforming into a plastic protein, that is used as fuel to enhance or recreate the skeletal frame. How far are we from a time when sea creatures can design and shape their future selves with a material that is non-degradable, has increased fracture toughness, is lightweight, colourful and shiny?
SuperNatural Plastic Eaters is a talk involving marine scientists Karin Dubsky and Heidi Acampora and artist Yvanna Greene. The talk, chaired by Anne Mullee, examines plastic pollution in the marine environment, the ingestion of plastic by marine creatures and reveals evolutionary new marine species washed up on the coast of Ireland.
Thursday 22 March 2018, 2-4pm
Venue: The LAB, Foley Street, Dublin 1, Studio 4
Petra Berntsson, Casting Invisible Lines, talk and screening
Casting Invisible Lines is a research project using video, sound and writing. It is an inquiry into both the connectivity of the sea and the barrier that the ocean skin presents. Petra Berntsson has invited artists around the world, living or working by the sea, to film short clips exploring their own relationship with the sea surface. Artist and writer Colin Glen has written an essay in response to the footage and sound artist Jane Pitt has created the soundtrack, based on hydrophone recordings from the North Sea. On March 22nd, Petra, Colin and Jane will present their collaboration, in a screening and talk chaired by Dr. Susan Steele, Chair of the Sea Fisheries Protection Authority. Places for this free event are limited and can be booked here.
Wednesday 11 April 2018, 7pm
Venue: RUA RED, Belgard Square North, Tallaght, Dublin 24
Jung-A Han, Voice:목소리:Moksoli
Voice:목소리:Moksoli is a live fifteen minute performance, and accompanying audio installation, exploring aspects of dual identity. This work, devised by Jung-A Han, draws directly upon the lived experience of migration, using written language, dance and sound to explore the feeling of inhabiting a hybrid of cultures in everyday life. On Wednesday 11 April, Jung-A Han and Yoon-Kyung Chung will execute a live performance in RUA RED gallery. The performance will be interspersed with audio recordings, composed from collected interviews with members of various communities, reflecting upon on their own perceptions and experiences of representing different identities. Elements from the performance, including the edited audio, will be exhibited in the gallery of RUA RED from Wednesday 11 April until Friday 13 April 2018.
Friday 27 April 2018, 12-8pm, with performances starting at 6pm Venue: The Museum Building, Trinity College Dublin.
Guest Appearance: a group exhibition featuring Sophie Behal, Vanessa Donoso López & Benjamin Stafford, Isadora Epstein, Maeve Lynch, Eoghan McIntyre and Rosie O’Reilly.
The ideal guest obscures the flaws of the host and there is no host more flawed than an artist. Hospitality manifests in the interplay of artwork, artist and audience, operating at the threshold between nature and artifice. Comprised of performances, sound installations and sculptures, Guest Appearance invokes matters of authorship, the transitional properties of objects, and the transformative quality of sound. Hospitality demands both the adherence to regulations and the acceptance of responsibility. It is simultaneously welcoming and hostile. The Museum Building at Trinity College Dublin offers a charged site for Guest Appearance. The exhibition explores the contradictions of hospitality, in which the guest-host relationship contains the potential for productive antagonism.
ARCHIVE: ARC Student Projects 2017
In 2017, ARC students presented their work in exhibitions, performances, product launches, screenings and panel discussions at various public venues, including The Darkroom, The Chocolate Factory, IFI, the LAB, Millennium Court Arts Centre and St. Stephen’s Green. Further information on ARC Major Projects 2016-17 is available here
ARC Student Research and IMMA
ARC students regularly collaboration on public programmes for IMMA. Previous projects include:
ROSC: Fiction of the Contemporary, 23 March 2017.
ARC researchers presented a performance and publication as part of the Exhibition Histories seminar, which also included contributions from Dr. Lucy Steeds, Kate Strain, Peter Maybury. This seminar took place on the 23 March 2017 at IMMA. Recording available here.
ARC and IMMA: statəcraft, Project Spaces, 16 March – 3 April, 2016
Interweaving the histories of two entities—IMMA’s Residency Programme and the Free International University model advocated by Joseph Beuys & Dorothy Walker—students from the IADT Masters in Art and Research Collaboration (ARC) will turn the IMMA Project Space into an experimental public research-hub. They will create an open space for the investigation of living and making, to explore how art practice and art thinking can produce alternative forms of ‘statecraft’. The full programme of statəcraft events is available here. A map of the statəcraft research hub is available here
The Beholder’s Share, Project Spaces, IMMA, Thursday 26 March – April 26, 2015.
Installation view, The Beholder’s Share, Project Spaces, IMMA. Plinths by Hugh McGettigan and Katie Burgess, IADT BA students.
The Beholder’s Share examines unrealised and unexisting projects from the IMMA Collection. The focus of the exhibition is the role which the viewer can play in imaginatively completing an unrealised work. Exploring the documentation, stories and latent potential of projects by artists such as Joseph Beuys, Christo, William Furlong and Sol LeWitt, the show will also include selected unrealisable proposals by 4th year students from IADT’s BA in Visual Arts Practice. The Beholder’s Share is curated by students on the Art and Research Collaboration (ARC) MA programme at IADT in collaboration with the IMMA National Programme.