Des Kenny Reviews Mary Burke - Memory Traces

November 27, 2013

22 November 2013

Mary Burke - Memory Traces
23 November 2013 – 01 February 2014
GROUND FLOOR GALLERY
Read more … here 



Memories reassemble realities glaring facts to accommodate obsessive feelings associated with places we inhabit. These feelings may not help form a greater holistic perspective but tend to fragment our recollections into parts that collectively do not add up. Mary Burke’s show in Draíocht examines the fragmentation of reality by memory. Paintings are divided into sections; each segment depicts a different aspect of both interior and exterior dwellings. They create a jigsaw pattern which a viewer assembles to fit an emotional template accumulated in the blind storehouses of the mind. This thought process connects the viewer and artist as they jointly share the same passionate space.




The first three paintings encountered in the gallery depict a suburban home. Where we have dwelt in formative years has a profound effect on our psychological makeup. No doubt in later life the artist has discovered that disjointed memories collaged together creates intense emotions that realistic facts lack.



In “Descend”, the painting is cropped in four images, revealing a staircase, an open door, a section of stained glass and another view of an open door. There is a melancholic sense of loss as home ties are disconnected, a rupture that confines the interior scene to the shaping past whilst the ecstatic promise of the future calls beyond the beckoning open door. The doorway is a threshold that must be passed, leaving behind the safe haven of home towards an uncertain fate fashioned by personal destiny.

In “ Flashback” we are shown different interior details of the same home and the title hints at its meaning. A memory may resurface unexpectedly, recalled by a scent, a sound or memorabilia and its sudden re-emergence can unbalance the controlled trajectory of our life. We search for significance to the dramatic outpouring of imagery released from our mind and on finding none we feel unhinged.

The painting titled “Recall” examines the exterior of the house as if access is denied because the family home is under new ownership. A lawful barrier excludes entry to that welcoming touchstone of fading memories we call home.

School days are resurrected in “Alma Matter 1 & 2 “. Long corridors are angled abruptly to staircases travelling to depths and heights in a claustrophobic maze which turns upon itself, devouring wisdom. Teenage rebellion is held in check by rules and polished floors. Reflective sunlight on blank walls silently reminds that liberty waits patiently outside.



“Labyrinth” is a title of one painting and it is the most abstract work in the show. Difficult to interpret because splintered into so many parts, it’s decoding is problematic. Checkerboard images revealing parts of walls, windows and floors offer no clues to the anonymous building or the connection to the artist. Modern buildings seem to discourage personal attachments.



The painting called “Equilibrium” depicts a modern dwelling adjacent to an image of a suburban home while the lower sections show a modern interior beside a cultivated garden anchored by two large boulders. A building that one can occupy which evokes harmony secluded from turbulent reality is a basic desire. A place were reflective past and golden future orbit around the momentary present is called home. As the artist has revealed the buildings she has inhabited from parental home, through schools and places of work she has come full circle, found a dwelling she calls her own and the foundation of this abode is the imagination where all artists reside.


Mary Burke - Memory Traces
23 November 2013 – 01 February 2014
GROUND FLOOR GALLERY
Read more … here 


Desmond Kenny is an artist based in Hartstown, Dublin 15. He is a self taught painter, since he began making art in 1986 he has since exhibited widely in Ireland and abroad, solo shows include Draíocht in 2001, The Lab in 2006 and Pallas Contemporary Projects in 2008. His work is included in many collections including the Office of Public Works, SIPTU, and Fingal County Council. Kenny's practice also incorporates print making and he has been a member of Graphic Studio Dublin since 2004.

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By Draíocht. Tags: Artist Interview, Visual Arts, Desmond Kenny, Mary Burke,

Des Kenny talks to Kathy Herbert, Artist in Residence at Draíocht

November 19, 2013

18 November 2013

Kathy Herbert is the current Artist in Residence and has use of the Draíocht’s Artist Studio for six months. Kathy’s practice entails mapping, cataloguing and documenting her encounters with the natural environment in the immediate vicinity of Draíocht. Festooned around the studio walls are large and small drawings, all jostling for attention. Two tables are integrated to form a large work top, strewn with painting materials and pieces of cut paper, awaiting the artist’s creative intervention. Against a pillar, inert rocks and a feather repose, reluctant to reveal their secret. Thin wire sculpture of animated insects, populate the far side of the pillar, clumped together, craving freedom. On a table secluded in a corner lies a dormant laptop and open notebooks denote where sparkling scribbled conversations have found a home. The centre of the large studio is uncluttered, allowing measured access to all the projects on the studios periphery. Objects that occupy the edge of an artist’s vision blur and form unintended structures which can enliven an artist’s imagination. The mysterious pulse of the creative act is energised by the studios orientation and every artist’s format is different.



In a series of drawings, insects and birds are captured in an intense calligraphic urgency of mark making. Movement through space is granted superiority over descriptive form. Spectral crows tangle the croaking air with serrated wings, a bulbous bee hovers hesitantly and clustered long legged insects gyrate in an aerial dance. While making these drawings, the artist would engage with people out shopping and record in notebooks what was said to her. People will ask”what are you doing”, “is it finished yet” and “do you make money”. This discourse finds its way into her work. Drawings of denuded trees, accept these words in place of displaced leaves, language replacing the rustling sound of nature. We laugh together at the phrase “do you make money”. We share in the belief that art and its practice cannot find true value in comparison with monetary evaluation. Truth and beauty are the standards artists use to define their work and these commodities are not noted on the stock exchange. They are found in the priceless heritage of dreams which bind a people.



Our shared laughter eases the tension as the artist displays and talks about her practice. It’s difficult to expose works, unfinished to the critical eye. A misguided remark may destroy the embryonic development of a work of art. Our mutual passion for art overcomes the tense atmosphere that exists between artist and critic. This permits a deeper review of her project charting natural occurrences surrounding Draíocht. She photographs fallen leaves and numbers their position with chalk.


At times only a stain marks its fall, a ghostly semblance of natures passing. She bears witness to the forgotten lament of fallen leaves resurging essence lost on unforgiving tarmac. Recording these small natural events amidst the ravenous consuming bustle of a shopping centre may appear ludicrous to some, yet the artist insists these revelatory experiences of nature, open up that silent centre in our humanity where calm and peace abide.


The pursuit of consumerism inhibits quiet reflection. There is a map of the shopping centre were the artist traces her movements on daily forays into the natural environs around Draíocht. As a sculptor, she’s interested in how urban space controls our lives and confines our reaction to nature. In a previous project of drawings, she displayed GPS co-ordinates of trees and using this information, the street location of each tree was established. The artist becomes a pathfinder, leading the way over old ground, showing how to see it anew.

The artist has displayed drawings of swirling leaves in the studio windows for the observance of passing shoppers. As I pass, pausing to wonder uncertainly if leaves have dreams, I’m assured natures streaming consciousness has found a champion in the dreaming hands of Kathy Herbert.





Desmond Kenny is an artist based in Hartstown, Dublin 15. He is a self taught painter, since he began making art in 1986 he has since exhibited widely in Ireland and abroad, solo shows include Draíocht in 2001, The Lab in 2006 and Pallas Contemporary Projects in 2008. His work is included in many collections including the Office of Public Works, SIPTU, and Fingal County Council. Kenny's practice also incorporates print making and he has been a member of Graphic Studio Dublin since 2004.

 

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By Draíocht. Tags: Artist Interview, Visual Arts, Desmond Kenny, Kathy Herbert,