Due to unforeseen circumstances Sarah O'Brien's Artist Talk, scheduled to take place this
Saturday Mar 19th in Draíocht's First Floor Gallery had been postponed.
A new date will be announced shortly.
Apologies for any inconvenience caused.
Draiocht's Nicola Murphy caught up with actor, writer and director Myles Breen, ahead of his performance in Draiocht on 5 November 2010 in his play 'Language Unbecoming a Lady':
Q: Can you tell us a little about yourself, where you’re from?
I am from Limerick. Born and reared. Went to college in U.C.C, and graduated with a B. Comm. Much to my parents surprise after college I told them I didn’t want to be an accountant but an actor.
Q: How old were you when you got your start in acting?
As a child I did speech and drama and also was in a number of productions “as gaeilge” with Buion Phadraig an amateur Irish language theatre company in Limerick. My first big break was being cast in Clash of the Ash in 1986. 
Q: Did you always know you wanted to act? Or What inspired you to become an actor?
My mother says I always wanted to act, and it is really her fault. She loves theatre and music so when me and my younger brother John (who also went into the business as a director and writer. He wrote Alone it Stands) were kids she dragged us to everything from musicals to plays.
Q: What other artists or people have influenced or inspired you in your life, and in what ways?
One of the performances that really inspired me was Donal McCann in the original production of The Faith Healer by Brian Friel. Even now nearly 20 years later I remember that performance vividly.
Q: What has been your favourite acting part to date?
Writing and performing my own one man show has been the biggest challenge I’ve had up to date, and I have been overwhelmed by the reaction of audiences gay, straight, young and old. A show which I am still all these years later proud to have been involved in is Island Theatre Co.’s production of Pig Town by Mike Finn.
Q: Do you have a favourite play?
Of course I would like to say my own play, but any time I have had the opportunity to see or perform in a Shakespeare play, I am amazed at his talent both for drama and poetry. A Midsummer Night’s dream is a particular favourite
Q: Are you a full time actor or do you have another job as well?
Like any actor you do a little bit of everything. I have worked as a director, choreographer, workshop leader, and performed on murder mysteries.
Q: What’s the hardest thing about being an actor?
In some ways the uncertainty about what’s going to come up next, though this is a downside it also means that surprises can happen.
Q: If you weren’t an actor, what would like your job to be?
Euro Lotto Multi Millionaire
Q: What inspired you to write ‘Language Unbecoming a Lady’?
The story started off with this image of a drag queen removing the costume, make up etc and revealing the man underneath the character. As I started writing it the drag queen persona and the real life of the man who created her developed. It covers one gay mans life from growing up in the 70’s to the present day, and so reflects the changes in society of how gay people are perceived and treated.
Q: How long did it take you to write?
The idea had been mulling around in my head for a year, but the whole play was written in about 2 months.
Q: What can audiences expect to experience at this show? Can you tell us a bit about the story?
The show covers many events and emotions in this one gay man’s life. Some funny, some sad, some ridiculous. Of course a big part of the story is his alter ego the Divine Diana. I hope audiences will like her take on life and love and also her taste in music, all the classics from Barbara Judy and Doris.
Q: What’s it like acting in a play that you’ve also written? Do you ever disagree with the Director because it’s so personal to you as a writer and actor?
As both the writer and the performer there really is no place to hide. Liam O’ Brien my director is also a good friend so his response to the material and his ability to push me without me knowing it has been brilliant. Though some of the piece is semi autobiographical other elements are taken from friends experiences as well as just imagined.
Q: What's the best bit of advice anyone has ever given you?
It’s a quote from the movie the Dresser. “Struggle and Survive”
Q: What advice would you in turn give to someone thinking of acting as a career or who is just starting out?
When I started it was possible to train on the job. However today it is important to go for professional training. It’s a very competitive world and the more skills you have the better.
Q: So what’s coming up next for you after this show?
After the tour I start rehearsals for panto. I have been playing the Dame in panto in Limerick since 1997. It is one of my favourite roles as an actor. It is hard work because it uses every skill you have. There is singing, dancing, comedy and pratfalls. Also panto is most people’s first experience of the theatre and I know that as a child I was blown away by it.
BOOK TICKETS TO THIS SHOW ON 5 NOVEMBER 2010, 8.15PM / TICKETS 16 EURO / 12 EURO CONCESSION
Thanks to Myles Breen for taking some time out of rehearsals to chat to Nicola Murphy.
You can find more information about Myles and Bottom Dog Theatre Company at:
http://www.bottomdogtheatre.com/
`The Great Auk and other stories`
An Exhibition of paintings by Michael Mc Swiney at Draiocht, Dublin, June 4th to August 28th 2010 
In this exhibition of works by Michael Mc Swiney, at Draiocht, the strong influence of growing up in Cork harbour permeates the surfaces, structures, and meanings in the paintings. Michael has travelled some distance from Cork in the last 23 years, sourcing form and content from far-off places, yet the colour, atmosphere and memory of the Atlantic Ocean is in the layers of paint, tar, pigment and earth. Out of these surfaces, he excavates from the memory and imagery of living in 70’s Ireland, in a working harbour by the sea, where beauty, soul and adventure merge easily with decaying or destructive materiality and man-made structures. The elemental possibilities of the coast are explored through a wealth of medium & materials applied to the canvas and of imagery he draws out; sea journeys, boats, dry docks, harbours, tides, oil rigs, pollution, abandoned buildings and factories and a forgotten bird, the Great Auk. 
Michael McSwiney `Rounding the Drydock` 50x40cm Oil, pigment and metal dust on canvas,2009
In this exhibition every painting is a story. The freedom felt as a child travelling out in the boat to where only the horizon and the surface remain as a space to cultivate imagination is recreated. Explorations of run-down or abandoned structures and buildings encountered as a child continues in the paintings of architectural structures like ‘Abandoned factory’ which won Michael a Norwegian Art’s Council Grant in 2003. Considering the sea paintings along with the structures of decay and dilapidation, a liminal threshold is suggested, where things come from and go to, a line between man, the man-made and nature, presence & history, darkness and light, beauty and destruction, comfort & discomfort, material and meaning, narrative and abstraction. 
Michael McSwiney `Slag Heap`
Michael Mc Swiney left Cork harbour to study art in Crawford College of Art and then to the National College of Art and Design in Dublin, later travelling to places like Denmark, India, Egypt and throughout Europe. Returning to Ireland in the late 1990’s, he had several solo exhibitions, exhibited at An t’Oireachtas and won the painting prize at Iontas in 2000. From 2000 Michael was based in Oslo, Norway where he regularly exhibited his paintings, lectured at the prestigious Einar Granum Art School and was awarded grants from the Arts Council of Norway and the Norwegian Culture Department.
Michael returned to live in Ireland two years ago and has presented solo exhibitions of works at Garter Lane Arts Centre Waterford, Linenhall Art Centre Mayo, Sirius Art Centre Cork and Droichead Art Centre Drogheda. He is represented in collections in Ireland, Europe and internationally. 
Michael McSwiney `The Spit`
The Great Auk is symbolic of this return and of Michael’s process. This amazing bird first caught his attention when he was looking for inspiration in Oslo’s National Museum of History. Attracted initially by the beauty of the bird, and learning it was extinct, research led him to empathise with its tragic demise. These beautiful, penguin-like birds were so curious. They swam out to boats and were easily clubbed to death for the value of their beautiful feathers. Knowing no better and being trusting, the birds kept coming. The story of the Great Auk is indicative of one side of the destructive relationship between man and nature that is explored in Michael McSwineys’ paintings, the other side in this relationship adventures towards soul, imagination and expansive possibility. The last Great Auk was washed up on Long Strand in West Cork in the 1800’s, only down the road from where Michael now lives with his family. These paintings and stories mark a cycle of return in the work and life of Michael McSwiney.
Michael McSwiney `Abandoned Factory`
Further info about Michael: http://www.michaelmcswiney.com/
Artist Interview Holly Dungan, 7 April 2010, in conversation with Nicola Murphy:
Q: Tell us a little about yourself, your background, where you’re from and where you live?
I grew up in New Ross, Co. Wexford and from there, I moved up to Dublin after my Leaving Cert in 2003 to study Fine Art in DIT. I was based in Galway for about a year where I did my Masters in Arts Policy and Practice but for the moment, I’m splitting my time between Wexford and Dublin, about to begin my dissertation and then I will hopefully move on to somewhere new and exciting.
Q: When you were small, what did you want to be when you grew up? Were there any clues in your childhood that you would follow an artistic path later?
Only two dream occupations stick out in my memory when I was little: to be a famous artist and travel the globe or else, become a professional tennis player! I can barely hit a tennis ball, nor do I own a racket so at this stage; the latter is starting to look the most likely. I suppose in terms of looking for clues, there were loads. I was always involved in lots of school activities and youth organisations that put a huge emphasis on arts and crafts and I was encouraged to enter a lot of art competitions. In fact, a whole portfolio of childhood drawings still exists somewhere and the odd plastic plaque!
Q: How long have you been an artist and why choose an arty profession over a more conventional career, like being an accountant, or working in an office for instance?
I wouldn’t call myself a full time artist in that I don’t have a studio but it’s what I have been pursuing on a part-time basis since I left college in 2008. I always knew I was going to enter the arts in some way, there was never a question I would go down another route. I feel it is just the way I’m programmed, I simply wouldn’t be happy otherwise. So I may as well make it doing something I love.
Q: Perhaps you also have a conventional day job to supplement your income as an artist and if yes does this interfere with your creativity and focus?
I have every intention to pursue a career in arts administration which will still allow me to be at the forefront in driving the arts as opposed to being a small part; mind you being the visual artist is still an extremely important part. Previous jobs I’ve had have usually allowed me time in the evenings when I did decide to sit down and work. God bless the 9 to 5.
Q: What materials do you like to work with and when did you create your first drawing?
Without a doubt its Caran d’ache crayons especially in Greyish Black, which at this stage, sticks of it just live at the bottom of my handbag and my favourite Uni Pin black pens. I first started drawing as soon as I could grab a pencil, cheesy I know but it’s actually true.
Q: Has your style changed over the years and what might have influenced this change if yes?
I wouldn’t say my style has changed over the years, more so it has developed. I suppose in college, we were set different projects and briefs which meant I couldn’t always do what I wanted but come 4th year, I was determined to work in the style you see today, that of small, ink drawings. In relation to other artists, I’m still finding my feet.
Q: Have you ever tried other art forms like photography, sculpting, making music, or dancing for instance?
When I did Fine Art, I was lucky to be in a course that gave you the opportunity to try your hands at many different art forms so in DIT, I did everything: print, sculpture, painting, digital media and photography. It became clear soon after, these art forms were not for me; I’m not one for hassle, Ha!
Q: What other artists or people have influenced or inspired you, and in what ways?
Elizabeth Magill is a major influence for me, her work is simply stunning, and I could look at it happily for hours. Other artists I admire include the likes of Peter Doig, Lars Nyberg, Louis le Brocqui, and Kara Walker. I could keep going with this list. You can tell I adore contre-jour.
Q: What is the thing you most enjoy about your work?
Once I start, it’s a joy to simply switch off from the real world and loose yourself for a bit. If I’m working on one piece for any long period of time, I may put on some music or a film and totally relax. 
Q: How do you keep motivated if you’re having a bad day?
I generally find if I’m having a bad day drawing, I’ll keep trying to find new ways to look at the piece, for example standing back, turning the work upside down or looking at it through a mirror, until a new idea comes and I’ll start re-working it. If that doesn’t work, I stand back and leave it for another time but then it’s always at the back of my mind.
Q: How have you handled the business side of being an artist, promoting yourself and getting exposure, selling your work etc?
It was a lot easier then I thought especially when I left college and found that many galleries were willing to exhibit my work but this was several years ago and not the current economic climate we’re enduring right now. My grad show gave me fantastic exposure and I exhibited in some great spaces, however several of these spaces don’t exist anymore which is terribly sad. Naturally, it isn’t the best time to be an artist.
Q: Could you tell us a little more about your exhibition ‘Woodstock’, currently in Draíocht’s First Floor Gallery? Did you go on location somewhere to draw the trees? Why do some have colour and some not?
This exhibition is basically the biggest exploration regarding this theme of tress that I have undertaken, before it was always done on a smaller scale, two or three here and there for small exhibits but since the space called for plenty, I decided to really go for it, it was my chance to experiment and see how far I could go with them as images. That’s where the idea of the cluster came from, the diptych and the overall arrangement. I took the majority of images for this show at a place called Woodstock in Co. Kilkenny which is where the title comes from, though not all came from there. It’s truly a fantastic place to go, extraordinary scenes and trees of the exotic nature. It used to be an abandoned paradise so to speak but Kilkenny County Council is doing great work to restore it to its former glory. Regarding why some have colour and some don’t, is simply an issue of variety, all the images are different fundamentally so that goes for the general composition and colour as well, its easy to allow them to become simply uniform shape which is something I’m opposed to. 
Q: Have you any other exhibitions coming up?
No, not at the moment, currently I’m just going to focus on my MA dissertation but you never know!
Q: Where can people find out more about your work? Have you a website?
Ooh, I don’t have a website, I don’t consider myself there yet, I don’t even put my work up on facebook but maybe I should. I’m shy about promoting myself that way.
Q: Do you have any advice you could give to an artist just starting out?
Simply get your work out there, bring it to the attention of galleries and spaces, it doesn’t matter where they stand in relation to commercial or not-for-profit, just so long as people get to see them and that you’re constantly working towards something.
Q: Where do you see yourself in 10 years?
Returning to Ireland post-recession with an impressive CV managing major international arts centres and festivals and still producing and selling art with my own specially built studio space! Lovely!! I’ll definitely be coming back and looking for this part of the interview in 10 years time!
Q: What are your interests and hobbies outside of art?
Music would be a major interest; I play the classical violin, enjoy singing and also make it a priority to get to different music festivals when I get the chance. Film is also a big interest as well as general merriment and all things ridiculous and funny!
Website interview with Joe Hogan, one of the Curators of Draíocht’s current Exhibition,
'European Baskets', In association with The Crafts Council of Ireland
Fri 9 Apr - Sat 29 May 2010 // DRAÍOCHT, GROUND FLOOR GALLERY // Free Admission // Open Mon-Sat 10am-6pm
Joe Hogan
Brief Introduction:
This exhibition features work by almost 80 of Europe’s leading basket-makers in materials ranging from wire to willow and includes both contemporary, sculptural work and traditional techniques. Visitors to the gallery will see how the work varies hugely from country to country, as do the materials. Curators Joe Hogan (Ire) and Mary Butcher (UK) are passionate about exposing people to these wonderful, age-old techniques.
“Sadly, when the old basket makers die, so too will their traditional baskets,” says Hogan. “But as well as looking back, we are focusing on cutting edge contemporary work and that space in between, which most basket makers inhabit, creating professional, functional baskets.”
This exhibition was produced by the National Craft Gallery in 2007 and is touring to a number of venues in Ireland, the UK and Europe.
Joe Hogan is a traditional basketmaker and teacher who lives and works in Clonbur, Co. Galway. Joe has written a book ‘Basketmaking in Ireland’ and has a website http://www.joehoganbaskets.com/
Q: Can you tell us a little about yourself, your background, where you’re from and where you live?
A: I live at loch na Fooey between the villages of Clonbur and Leenane, on the the borders of Connemara and west Mayo but I am originally from Caltra in east Galway.
Q: When you were small, what did you want to be when you grew up? Were there any clues in your childhood that you would follow an artistic path later?
A: I am not sure I have followed an artistic path but no, there were no clues that I would become a crafts person. In fact I was not very skilled with my hands when I was young, at least in relation to my brothers but there was a general atmosphere of fixing things in the household.
Q: How long have you been basket making and why choose an arty profession over a more conventional career?
A: I have been making baskets since 1977 and working full time at it since 1978. I originally went to university in Galway to study for an arts degree in history and philosophy and met my wife there. We wanted to live in the countryside and I thought basketmaking would provide a reasonable stable income and turn a rural location into an advantage. I feel it is very important to like the work you do .
Q: Can you tell us more about the skill involved in basket making and what inspired you to write your book ‘Basketmaking in Ireland’?
A: The basic techniques in basketmaking are reasonably quick to learn. Absolute beginners can make baskets but the shape may not be very uniform. When I give workshops for instance most participants will make 2 to 3 baskets over a 4 day period but it takes much longer to perfect the techniques so that each basket comes out the shape you want it to be. I think one could be improving in this area always and it is the constant repetition of techniques that brings one closer to perfection. 'Basketmaking in Ireland' came about a result of my interest in the traditional baskets of Ireland and as many of the designs are unique to Ireland I realized I should record these techniques for the future.
Q: When did you create your first basket and what was your inspiration?
A: 1976 or 1977, I was drawn to basketmaking because I was also interested in growing willow which is the basic raw material for the baskets I make.
Q: Do you grow your own materials or do you source some materials from abroad? Is there a lot of other equipment needed for basket making?
A: Yes I grow my own willow but I also buy in some willow for teaching as the willow I grow myself is harder and therefore not ideal for people beginning basketmaking. You need very little equipment for basketmaking, at a pinch a knife will do.
Q: Has your style changed over the years and what might have influenced this change if yes?
A: Yes my style has change a lot in the last 10 years as I have become more interested in making non functional work. This change is perhaps a result of a desire to express a sense of belonging to the earth through the work.
Q: What other artists or people have influenced or inspired you, and in what ways?
A: I read a good bit of nature poetry by poets such as Mary Oliver, Rilke, Wendell Berry and Seamus Heaney for example.
Q: How do you keep motivated if you’re having a bad day?
A: I enjoy the work I do so its easy to stay interested but I also like gardening and walking so can have variety if I need it.
Q: How have you handled the business side of being an artist, promoting yourself and getting exposure, selling your work etc?
A: I find the business side a bit difficult at times but have been fortunate to have had a good bit of exposure so can usually sell my work fairly easily.
Q: Could you tell us a little more about the exhibition ‘European Baskets’ currently on exhibition in Draiocht?
A: This exhibition aims to give a snapshot of basketmaking in Europe so it combines very traditional work - like the Scottish Kishies made by Ewen Balfour for example - with very artistic work and we have also included a wide range of functional work with various uses.
Q: Do you have any advice you could give to an artist just starting out or to someone interested in taking up basket making?
A: It is not a particularly easy field to get into so one would need to enjoy the work itself to compensate for the difficulty of learning the skills.
Q: Where do you see yourself in 5-10 years?
I try to live in the present moment!
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