This emphasis on the fleeting, the un-touchable and the ephemeral places unparalleled importance on process, and it is in this sense that I feel my practice is suitable for residency opportunities. Performance is communication that sits outside the realm of language, it enters us through affect rather then understanding, and travels deeper then we could ever logically explain. The spectator or participant is the link, the missing part that completes a work that up until the point of encounter has been merely an a set of actions.
It entitles the viewer to an involvement rare to other mediums. Something I do believe to be of critical importance in art which lends itself perfectly to the residency as a platform for art-making is the idea that a project engages with the local area in an open and direct sense, namely through the people, and seeks to encourage a refocusing, and if possible a reassessment, of a place from the perspective of those who know it best. In contemporary Ireland, our past it seems has caught up with us. How is it that we as a nation should process previously masked aspects of our history? Especially when that processing may lead us to question aspects of ourselves, and the trust we lend in bodies of administration that have claimed to act in our best interests but have failed in their responsibilities. These sensitive issues are highlighted dramatically now on the eve of the centennial year of the easter rising.
Moral and Financial Bankruptcy we can be sure was not part of the building blocks of an independent Ireland, however, now that we find ourselves here in this now, how do we as beings born into this society consolidate? For this Residency, I would seek to develope these questions, through a combination of community orientated discussions and workshops that aim to engage with members of different generations, as I believe that only through a trans-generational dialogue can our past be digested and not haunt a future Ireland that may find its second century more difficult then it’s first.
I hope to investigate and detect Human activity in remote locations through Anthropology, Archaeology and Anatomical investigations on found objects once lost or discarded, to reconnecting with primal experiences on a sensory level. I intend to leave purpose built site-specific works to mark both human activity and my visitation to the landscapes made from found materials that are located in the landscape. I am working in the theme of ALLEMANSTRATTEN an ancient “Birth right” which is a freedom to roam the land, a basic human right.
I simply want to produce things I want to see. I look to explore every mark that there is to make, both fleeting and permanent. I want to explore the nature of things. How things work. How they interact with each other. To explore materials and conceptual landscapes of physics and universal questions and processes, from carbonisation to transcendence and decay. With entering new landscapes and interacting with new experiences I hope to expand my critical thinking of my own practice, and my place in the landscape. I see the world as a painter, through material and its tactile nature as well as re-evaluating its very definition. I am focused on physicality and the compulsion to make and understand the tools I use and the processes of making things.
The context of my work fits into many fields… it is an organic process that manifests itself in many forms. I am interested in how paintings are made, how they are conceived, raised and subsequent death and rebirth into something new. I work with the reality of found objects and chance happenings and discoveries as well as collision between materials. From uncovering layers of environments to exploring a shared and forgotten primitive human history that transcends time and culture. I am focused on Human occupation and interaction within spaces and the landscape, from recent geological history of the Holocene to a new Human/Earth relationship manifested in Anthropocene.