Practice as research exploring the fundamental ontology of interstitial spaces in the form of site-specific drawing installations, interventions and events.
Interstitial spaces here refer to in between, empty, transitional, transient or non-places that are assumed and unquestioned.
Phenomenological description is utilised in order to question the ontology of interstitial spaces. For phenomenology the primordial question is that there is, which is essentially bound with Being, as opposed to science and the question of how there is from a third space.
As part of the knowledge building process of understanding through philosophical questioning, drawings, like philosophy, interrogate assumptions, challenge people and encourage critical thinking.
Rachael Agnew (b.1982) is a member of Abbey Studios, Dublin.
Most recent events include: ‘Elevate.1’ (a global day of performances in elevators across the world), a performance drawing @ the Gallery of Photography, Co.Dublin (2017); and ‘Drawing as walking’, a site-specific research drawing, Malahide Castle, Co.Dublin (2016).
Rachael’s artworks have also been shown at The Lab, Co.Dublin (2011), The Dock, Co.Leitrim (2013) and UCC, Co.Cork (2007).
Rachael holds a Higher Diploma in Philosophy from UCD (2015) and a Masters in Visual Arts Practice from I.A.D.T. (2011).
Clear’s drawing based practice has expanded to include 3D drawing, installation and animation. The drawings describe structures that are untenable, there is an uncertainty as to their status; scaffolding or ruin; recognition or abstraction; investment and indifference. Light and shadow are important components of the work in some cases drawing and shadow merge and it is unclear which is which. The provisional nature of drawing and its other technical role in engineering, architecture, blueprints and everyday life are key to the intention of the work. Clear is interested in the idea of potentiality, the moment when something is coming into being but resists actuality, so endings remain open and a range of possibilities appear.
Felicity Clear is a Dublin based artist educated at the National College of Art and Design and later Dun Laoghaire College of Art Design and Technology. Her work has been included in curated group exhibitions in the Irish Museum of Modern Art, Contemporary Arts Society London, Crawford Gallery Cork, The National Gallery Dublin, The Model Sligo, Limerick City Gallery, The Dock Leitrim. Solo Exhibitions include: Butler Gallery, Kilkenny, The Lab Dublin, The Rubicon Gallery Dublin, Lexicon Dun Laoghaire, Galway Arts Centre, Mermaid Arts Centre Wicklow.
My practice is the creation of light artworks and installations, often site-specific. While different bodies of work have very separate theories behind them, the connection is my desire to use light to translate movement into tangible forms. The most recent body of work, Infinity Studies: Monotony, draws on time and motion studies, as investigated by Frederick Winslow Taylor (time) and Frank and Lilian Gilbreth (motion), that document the time it should take to complete a process and how breaking down the process into components and removing unnecessary ones increases efficiency.
Studied from 1996 to 1999 at the Surrey Institute of Art and Design University College (now the UCA), specialising for one year in 3D Design and two years in Fine Art. I continued my training in Dallas Texas in 2009, studying neon glass skills; developing my long term interest in neon. Now based in Northern Ireland, I have been continually exploring my own visual language using the medium of light, exploring issues of boundaries and behavioural patterns. Exhibitions include Golden Thread Gallery Belfast 2017 – Sculpture in the City London 2017 – F.E. McWilliam Gallery Entrance Co Down 2015 – The University Art Gallery Belfast 2015 – Belfast Waterfront Hall Belfast 2004 – West Cork Arts Centre 2003- Irish Linen Museum Lisburn 2003 – The Market Place Galley Armagh 2002.
My interest lies in how drawing supports the individual as an exploratory tool of discovery. Through the immediacy of drawing, it is possible to reveal forms, problem-solve and gain an understanding of new subject matter. My work explores how artwork can simultaneously be delicate and fragile, as well as dramatic, responsive and forceful balancing the tensions between abstraction and representation.
Ongoing themes in my work are the contradictions we find in nature and the nostalgia of a bygone world, researching new scientific findings and also how charged symbolic forms can exist in gendered spaces.
Graduated from IADT, Dublin, Ireland (Vis Comm)1993. Recent exhibitions include Pallas Periodical Review #7, Dublin 2017. Solo exhibition at Mermaid Arts Centre, Co.Wicklow 2017. Royal Hibernian Academy, group annual 2016. Solo exhibition at Signal Arts Centre, Co.Wicklow 2016.
Residencies include Cill Railaig Artists Retreat, Co.Kerry 2016. Tyrone Gutherie Artist Centre, Co.Monaghan 2017, 2018.
Public collections Office Of Public Works, Ireland, Royal College of Surgeons, Dublin, Ireland. Private and corporate collections nationwide.
Recently selected as an artist on the Turps Contemporary Painting Course, London, UK 2018/19.
Kiera O’Toole, Drawing from the Non-Place, 2017, chalk on a found concrete structure. [Photogragh courtesy of Sarah Sexton].
I’m interested in two converging states of contemporary drawing practice: that of the making and creation of embodied drawing and its aesthetic experience for the viewer. I understand drawing as a phenomenological process, i.e. drawing can record its own making while simultaneously record the trace of the drawer. By taking a phenomenological attitude, drawing is a means for perceiving and understanding the world as it appears. Drawing is a way of bringing forth the essence of a phenomenon. It is a way of knowing the world differently by grasping the world pathetically.
I’m also deeply concerned with making meaningful connections that arise between the aesthetic experience of the drawing, the viewer and the wider conceptual frameworks that may arise such as the environment or migrational aesthetics. The gestural line, as a projection of the body, acts as a mediator between the drawing and the viewer and have a reciprocal relationship that is correlative of the same aesthetic experience.
Dublin born Kiera O’Toole is a visual artist and researcher is a graduate of the University of Newcastle, NSW, Australia, and D.I.T. Dublin. Currently based in The Model in Sligo, O’Toole’s practice examines the perceptual and aesthetic experience of drawing inside and outside the gallery space. This manifests through a studio and site-specific drawing practice, drawing performance installation and digital media. Recent projects include drawing performance with Greig Burgyone (UK) for Livestock, MART and a drawing performance with National Sean Nos champion Eimear McGarry. Upcoming projects include Beyond Drawing curated by Arno Kramer in Ballina Arts Centre and Uillinn West Cork Arts Centre and The Collectives: Women in Art curated by Dr. Annemarie Murland, NSW, Australia. Also, O’Toole is a successful candidate for a global peer-reviewed exhibition and conference in Parsons School of Art, NY. Practice includes residences, presentations (national and international universities, museums) and writing such as book chapter titled ‘Drawing from the Non-Place’ published by Cambridge Scholars, 2019. Lead artist for Coolaney Drawing Project which explores drawing as an interface. O’Toole is also the lead artist in O.P.W (Office of Public Wonder).
I’m interested in buildings and the way they effect how we move and behave. From exploring the frenetic spaces of market places to the desolate loneliness of empty spaces my practice has sustained a focus on architecture and buildings.
These ideas are realised through drawing, sculpture, installation and film.
My work does not illustrate but rather engenders ideas of place / no place and subjectivity. Exploring why and for who the space is created and, within this, how we position ourselves in that space. Research underpins my practice and explores the question of how identity is shaped and the play between art, literature and subjectivity.
Dublin born MaryRuth Walsh is a graduate of Goldsmiths College London and NCAD Dublin. Her selected work has been exhibited in Irish Museum of Modern Art; The Hugh Lane Gallery; Royal Hibernian Academy (all Dublin); CUBEOpen (Manchester); Oonagh Young; Cross Gallery (both Dublin); Highlanes Gallery (Drogheda); Parlour (New York); Arts Centre (Wexford). Her work is exhibited both inside and outside the gallery space.
Current exhibitions include: A Silent Space in the Turning World, a solo exhibition in Sirius Arts Centre by Mary-Ruth Walsh.
Opens Thursday 14 February 2019 – talk by Yvonne Scott at 6 pm. Runs until Saturday 27 April.
New paintings, collages and blueprints by Mary-Ruth Walsh, that reinterpret architecture and landscape and reflect on Brian O’Doherty’s longstanding engagement with space, place and architecture. Commissioned by Sirius Arts Centre for One Here Now: the Brian O’Doherty / Patrick Ireland Project. Supported by the Arts Council and Cork County Council. http://www.siriusartscentre.ie/visual-art/mary-ruth-walsh
Also, I am… a solo exhibition in Grölle Pass Projects, Germany by Mary-Ruth Walsh
Opens March 7th, 2019, supported by Cultural Ireland. http://groelle.de/