Aisling Conroy has almost finished as Artist in Residence at Draíocht for the last six months (January-June 2013). Aisling took advantage of Draíocht’s Artist Studio to produce the body of work situated on the Ground Floor Gallery space.
Placed in the centre of the gallery is a sculpture called Foundation, constructed from discarded frames. These frames may have held family photos, prints or paintings but now are empty. This void is filled by a chanting or humming sound emanating from two speakers placed at the base of the sculpture. The sound appears to resonate with memories of lost images that are still retained in the vacant frames like ghosts. The frames are haunted by their past. The sculpture tilts at an awkward angle and just about defies gravity and might topple over at any time. The artist is playing with the notion of discovering a tilted frame on a wall - we have an innate desire to rectify this imbalance and straighten the frame. When the frames are removed from their recognised formal function and operate in a different capacity, this eagerness to correct slanting frames, dissipates and our inaction is filled by the chanting humming music of the sculpture. Desire patiently emerges dressed in emptiness.
Four large circular lambda prints are found on one gallery wall. They are abstract in form and each print is dominated by one colour i.e. red, yellow, blue and green. The lighter colour found at the periphery recedes towards a dark centre. Each print has a unique musical recording which is heard through ear phones. The colour of the prints and musical chants entwine and release images from the recesses of our mind and imagination. The yellow print with the sound of children heard in the accompanied musical piece produces a feeling of joy and inescapable calm. The green print and chant evokes emerald forests, the scent of rain on green leaves and fern covered caves, gateways to mysteries not discovered. The blue print associates with images of distant Blue Mountains, cloud free skies and a yearning for something just beyond understanding. The red print bubbles with passionate desires that surface uncontrollably from depths of wildness we assumed were buried and forgotten. These works help transport the viewer into a daydream reverie where the unconscious thought stream encounters daily concerns. At times this is unnerving, since there is no control over the sensations and feelings that are unleashed. The artist allows such outpouring of imagery overcome our natural guarded exterior self and opens pathways to our interior life.
Around the rest of the gallery walls hang coloured pieces made from discarded corrugated boxes. Various sizes of card board are glued and are placed on top of each other. In one piece called Alber’s Ritual II, the artist makes reference to Josef Albers (1888- 1976) the artist who made paintings of coloured squares. Generally Albers created paintings with three coloured squares, each square smaller than the previous one. Using this restrictive formula he explored the effects colours had on their neighbouring colours. Whether they receded or moved forward when observed with the naked eye. Aisling re-examines this territory and finds a new theme by allowing the colours escape the picture plane of Albers illusory vocabulary and projects colour into the architectural space of the gallery. Artists are in constant dialogue with past masters and art history is a living entity and not a dust covered shelf full of books with tattered facts. These works extend a conversation with the past and take wing on changing winds of living history.
07 JUNE – 31 AUGUST 2013 GROUND FLOOR GALLERY
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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.
Recent Graduates – Exhibition Opportunity Draiocht 2013
The closing date for receipt of applications is Monday 29th July 2013.
Fingal County Council and Draíocht Arts Centre are seeking submissions from Fingal visual art graduates for an exciting exhibition opportunity in 2013. This opportunity is being developed to recognise, nurture and showcase the range of talent of an emerging artist(s) from Fingal, working in any medium, seeking their first exhibition in a recognised gallery in Ireland. This opportunity may take the form of a solo exhibition or participation in a group exhibition as part of Fingal County Council’s annual Amharc Fhine Gall (View of Fingal) exhibition to be held in Draíocht from 6th December 2013 – 1st February 2014. We will also appoint an emerging, independent curator to select and present your work, a full colour catalogue will accompany the show.
Exhibition Dates – 6th December 2013 – 1st February 2014
• Must be born, resident or working in the Fingal Administrative area.
• Have graduated between 2003 and 2012 from a recognised third level art college with either a Diploma, BA or MFA. PhD applicants will also be considered as long as they fill the emerging artist criteria.
• Be able to exhibit work from Exhibition Dates
• Be able to supply an up-to-date CV, artist’s statement and images before the closing date.
How to Apply
Applicants should provide a typed covering letter along with an artist’s statement, and up-to-date CV. Artists should also supply at least 10 good quality images in the form of hard copy, slides or CD/ DVD which should be all clearly marked with the name, description, date, dimensions etc. Any other relevant supporting material can also be included.
Applications should be sent to: Sarah O’Neill, Deputy Arts Officer, Fingal County Council, Main Street, Swords, Co. Dublin
For further information please contact Sarah O’Neill, Deputy Arts Officer, at firstname.lastname@example.org
Death of the Tradesmen plays Draiocht on Friday 7 & Saturday 8 June, 8.15pm. Tickets €16/€14 conc … Book Here …
Caomhan Keane talks to Shaun Dunne about Death of the Tradesman, which returns, as part of The Lir Revival Award, this week.
Taken from Entertainment.ie
Tradesman seems like a natural follow on to the conversation you started with Homebird. Was that deliberate or just representative of you writing about what's going on in your own world?
Tradesmen is actually an older idea. I had the idea for Tradesmen when I was in school so the line of work kind of just came out that way. Homebird definitely represents the younger generation while Tradesmen covers our parents demographic. The progression may seem sort of planned or coordinated and its weird to think now that Tradesmen was actually conceived as an idea first... I suppose Homebird feels very like the beginning of everything for me.
Your plays seem like you are trying to work things out but haven't made a definitive opinion. Is that your process? Do you have a definite idea as to what you want to say when you start or are you informed by research and contemplation?
I think that's very much how I approach the subject initially, yeah. I don't like to come down too heavy on either side. The work is more about presenting a situation or a process than it is about giving an answer either way. I think that's more interesting and I don't want to preach what I think the answer to particular social issues are. A lot of the time there is no one way. Myself and my collaborators definitely come to our own realisations but we like to leave room in the shows for the audience to take the subject further.
Where did the idea for Tradesman come from?
My father is a carpet fitter who has been largely unemployed for the past five years. When I first read Death of a Salesman by Arthur Miller in school, I remember thinking there were a lot of parallels there. Work wasn't as dry for him back then though so it was only when things got really bad that I started to think about the idea more seriously.
How did you develop it from the idea to get it stage ready?
I started with interviews. I sat down with several different tradesmen that an unemployment service called Jobcare put me in touch with. I also took part on their Employment Preparation Course, which helped me get in the mind frame of a person looking for work. After that I began to write. Then when we started to develop the show on its feet with Lauren Larkin and Talking Shop Ensemble we would improvise with the script. This helped to find a structure and really honed the editing of the piece. The show also benefited hugely from a residency I did called TITLE as part of the Cork Midsummer Festival. I worked with dramaturg Thomas Conway and the piece really sped along after that.
Tell me how your director helped shape this project?
We didn't work with a director per say. When I approached Lauren and Talking Shop we discussed how the piece might be made and we all agreed that myself and Lauren would stage the piece together while Lisa Walsh and Aisling Byrne would co-choreograph. We also had the added outside eye of our second dramaturge, Aifric Ni Ruaric. We work as an ensemble so everybody has their say in some way across the board. This is the same for designers and stage management. Anyone in the room is encouraged to chip in where they want. It's a very open environment where suggestions and ideas come from all angles- at times this can make your day a little longer but it's how we like to work. There will be days that certain people take the lead in certain ways - the way a director would - and as the conceiver of the piece that can often fall with me but the emphasis on the ensemble is huge.
Was Lauren Larkin your first choice of wife?
First and only. Originally, I thought it was a one-man show and I didn't even imagine myself in it initially. The play has a documentary strand to it, which pulls from the fact that myself and Lauren are the children of tradesmen. If Lauren wasn't in the piece the piece would have to change.
Who, directly and influentially has shaped Talking Shop's style?
There are two styles at play when Talking Shop and Shaun Dunne present together. My main influence would be my degree in journalism - this is where the documentary strand comes from - while Lisa and Aisling from TSE are Theatre Studies alumni so their influences are from a completely different bag.
We both want to make work about what it is to live here and now though so we unite on that. The main influences in my writing would be my parents... they taught me how to speak after all... them and the people I grew up around.
What's next for you and the rest of Talking Shop?
Touring Tradesmen! We've got a few dates lined up in the coming year so we're going to be pretty tied up with that. We're also starting development on our next piece where we hope to explore service provision for people with disabilities in Ireland, and are beginning a collaboration with St John of Gods Community Services shortly so it's all go really!
Coming to Draiocht on 15 June 2013, 8pm ... Blaze Away! The Incredible Story of Josef Locke
Tickets: €20/€17 or €15 for Groups
More Info about the show ... here ...
Book Now ... Online ... or ph 01-885 2622
Josef Locke was the stage name of Joseph McLaughlin (23 March 1917 -- 15 October 1999), an Irish tenor singer who was successful in the United Kingdom and Ireland in the 1940s and 1950s.
Born in Derry, Ireland, he was the son of a butcher and cattle dealer, and one of nine children. He started singing in local churches in the Bogside at the age of seven, and as a teenager added two years to his age in order to enlist in the Irish Guards, later serving abroad with the Palestine Police Force, before returning in the late 1930s to join the Royal Ulster Constabulary. Known as The Singing Bobby, he became a local celebrity before starting to work the UK variety circuit, where he played 19 seasons in the northern English seaside resort of Blackpool. The renowned Irish tenor John McCormack (1884--1945) advised him that his voice was better suited to a lighter repertoire than the operatic one he had in mind, and urged him to find an agent—thus he found the noted impresario Jack Hylton (1892--1965) who booked him, but couldn't fit his full name on the bill, thus Joseph McLaughlin became Josef Locke.
He made his first radio broadcast in 1949, and subsequently appeared on TV programmes such as Rooftop Rendezvous, Top of the Town, All-star Bill and The Frankie Howerd Show. He was signed to the Columbia label in 1947, and his first releases were the two Italian songs "Santa Lucia" and "Come Back to Sorrento".
In 1947, too, Locke released "Hear My Song, Violetta", which became forever associated with him. His other songs were mostly a mixture of Irish ballads such as "I'll Take You Home Again Kathleen", "Dear Old Donegal", "Galway Bay" and "The Isle of Innisfree" (the theme song from the film The Quiet Man), excerpts from operettas including "The Drinking song", "My Heart and I", and "Goodbye", along with familiar Italian favourites such as "Come Back to Sorrento" and "Cara Mia".
In 1958, after he had appeared in five Royal Variety Performances, and while he was still at the peak of his career, the British tax authorities began to make substantial demands that Locke declined to meet. Eventually he fled the country for Ireland, where he lay low for several years. When his differences with the tax people were eventually settled, Locke retired to Co. Kildare, emerging for the occasional charity concert and reappearing in Blackpool in 1968. He appeared in front of The Prince and Princess of Wales at the 1992 Royal Variety Show, singing "Goodbye", having announced prior to the song that this would be his final public appearance.
Read a review in The Corkman ... here ...