Dancing up a Storm in Blanchardstown

October 10, 2016

Please vote for us in the Better Together Video Competition 2016 from The Wheel. You can vote Once a day every day until 7 December 2016!
We could win one of 6 prizes of €1000.
Thanks so much! ...

Just Click the link below and then click 'Vote Now':

Draíocht’s Create Dance Project has been running since December 2013. Along with Draíocht’s Dancers Mark Rogers, Philippa Donnellan and Antje O'Toole, two groups of children with intellectual disabilities from the downs syndrome and autism spectrum, their parents and siblings have taken part in this innovative dance project through a series of weekly workshops. 
The response from participants has been overwhelmingly positive and the level of engagement increasingly impressive. This project represents a rare opportunity for these sometimes socially marginalised families to engage in the arts in a fun, creative and stress free environment.

Enjoy the full video here after you've voted.

Enjoy our Create Dance Blog here ... 

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By Draíocht. Tags: Create Dance, Mark Rogers,

Des Kenny Reviews Expanding Spaces by Robert Kelly

October 10, 2016

10 October 2016 - Our Arty Blogger is back! Des Kenny Reviews 'Expanding Spaces' by Robert Kelly ...

Abstraction has no other purpose but to be of itself, simultaneously distinctive and paradoxical. At times existing outside the tangled realm of words, inexplicably defying the desire of language to categorise it. The elusive quality of non-objective art appeals to many contemporary artists since it accommodates any strategy or theory while remaining ambiguous about any infallible final truth.  Robert Kelly’s show in Draiocht of abstract prints and drawings uses a number of elemental signs such as the triangle, square, circle and curved forms to explore the nature of pictorial space whilst indirectly referencing the subliminal space of the imagination.

On folded paper blue squares, green triangles and purple circles are run through the printing press but these rudimentary forms fragment as the paper is unfurled. The tension of this shuddering disruption across the paper surface reaches out to the viewer to reassemble the shapes in their mind. The graphic reality of the print exercises the viewer’s imagination to make connections and restore order to the splintered narrative of the imagery.

In another print presented on a square sheet of paper, circular forms are pulled asunder as the folded paper is restored to its original state. A great area of white paper disrupts the printed image like a crack appearing after the movement of tectonic plates across the earth. One blue circle moves from the printed surface into the compressed subterranean space of the indented white paper as if trying to manipulate the physical order of the composition before it disintegrates. By allowing chance dictate the outcome of the pictorial plane may imply that any measured principle of certainty we have is illusory.

A series of charcoal drawings display a calmer approach compared to the disruptive ideas pursued in the first five prints. These square drawings are folded in a manner which leaves horizontal, vertical and diagonal marks embedded in the paper. This underlying structure creates a scaffold upon which gentle curved marks find placement in an ordered construct. Mirrored images are formed when the paper is folded and put through the printing press creating symmetrical shapes that are balanced. The artist counters this informed symmetry created during the printing process by working over the paper with marks made in pastel that float above the uniform design. These intuitive marks made without the use of a printing press depend wholly upon the reflective touch of the artist hand and integrates the makers artistic personality more richly into the process.

The work called Entropy is made of sixteen prints on grey buff paper which combine to create a large square format where curved forms dance like musical notation. The repeated arabesques vary slightly on each page as if in a state of flux but moving towards dissolution. In The Wind of Change the notional marks are more strident and the diagonal creases lift the prints away from the wall. A symbolic turbulence ripples across the surface of the prints, where a reckoning wind will transform everything.

A large installation piece hangs from the ceiling, undulating like the serpentine form of a Chinese dragon. Seeming to catch the light and movement of the scurrying white clouds reflected in the large windows. Imprisoned, it yearns to take flight from the restraints of the gallery and let the tilting wind lift it up on silvery clouds. In folded sculpture square sheets of creased paper race upwards from the floor towards a vanishing point upon the gallery’s highest wall. A vertiginous sense of speed is felt as the square sheets reduce in size the higher the sculpture climbs up the stark white wall.

Robert Kelly is a restless printmaker who uses non-traditional printmaking techniques to excavate the hidden riches inherent in the medium.

Read more about Robert's show ... 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: Visual Arts, Desmond Kenny, Robert Kelly,

Expanding Spaces by Robert Kelly Opens on 24 September 2016

September 12, 2016


Artist Robert Kelly tells us a bit more about his forthcoming exhibition in Draiocht's Ground Floor Gallery:

Expanding Spaces is an exploration of liminal spaces as explored through the medium of drawing and printmaking, where the boundaries between both disciplines can sometimes seem blurred. The printmaking work in this series is currently focused around the use of creased and folded paper works. The work is studio based, that is to say it does not refer to outside imagery. While the work is non-pictorial and non-representational it is in fact an attempt to understand the natural order. Linear devices in the form of circles, squares and triangles plus other irregular linear shapes along with folds and creases in the print paper are used to explore spatial relationships. The works are less about image than they are about space and our perception of space.

Ideas and concepts from biomedical science and astrophysics can inform the work but the work is not an illustration of such ideas. The work is ultimately about itself and all that that implies. There is a sense in which the artist allows the medium to suggest possibilities even to the point of allowing the image in part to print itself. This is evident in the use of offsets as a result of creases and folds in the printing paper. This alludes to the notion of things happening from within. Being process led is another way of saying that it is the occurrences that happen while working which lead to future possibilities for image making.

Another aspect of the process influence on the work is the use of incidental elements used in registration and trial drawings being incorporated into and reshaping outcomes. In this way the drawing and the print process have at times merged and the detritus from one job has become the starting point for the next. The print /drawings are also a way of reducing the print process to its most basic level at times opening up its creative potential. It also throws up questions such as: What is an original print?  What is a print reproduction?  Preoccupations with themes such as a space between, bending space and expanding spaces emerge through a process led and playful approach to the media used. Spectator focus is thus directed not only to materiality but also to visual and perceptual occurrences taking place within the works. These are works that require attention and contemplation.

Robert is a graduate of Dun Laoghaire School of Art and Design, the National College of Art and Design and Trinity College, Dublin. His work is held in public collections by Louth County Council, County Monaghan VEC and in corporate and private collections in Ireland and Internationally.

Robert has exhibited in solo and group exhibitions with many group shows being curator led. Recent exhibitions include Interconnectedness - Droichead Arts Centre, Drogheda (2014)(solo exhibition). Selected group exhibitions include: Legacy -National Print Exhibition, Hyde Bridge Gallery Sligo (2016); Establish Change - Basement Gallery An Tain Arts Centre, Dundalk (2015); U Turn -The Library Project, 4 Temple Bar, Curated by Marysia Wieckiewicz-Carroll (2015); Mini Print International Seacourt Print Workshop, Bangor (2016 and 2014); Hot off the Press - Gormley’s Gallery, Lisburn Road, Belfast curated by Stuart Cannell (2014).

Robert is a member of Black Church Print Studio Dublin since 2010. He undertook a Cill Rialaig Residency Award in Ballinskelligs in September 2015.

Draiocht's Galleries are open Monday to Saturday 10am-6pm. Admission is Free.


Further information

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By Draíocht. Tags: Visual Arts, Robert Kelly,

D15 Youth Theatre Auditions 2016

August 12, 2016

D15 Youth Theatre Auditions 2016
Sunday 25 September 2016
Draíocht Studio

11AM-2PM / Draíocht

Auditions will be held for new members for Draíocht’s highly successful Youth Theatre, for those aged between 14-18 years with a love of theatre and trying new things. D15 Youth Theatre runs Tuesday evenings 7-9pm, during schools term times starting in October.

All welcome to auditions.
Drop into Draíocht to pick up an application form or download HERE

If you are interested in finding out more about D15YT, contact sarah@draiocht.ie or on 01-8098029.


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By Draíocht. Tags: D15 Youth Theatre,

Collapsing Horse’s Conor at the end of the Universe will premiere at Draiocht in October

August 10, 2016


Collapsing Horse are striding through this year’s Residency at Draíocht. We are delighted to announce that Collapsing Horse will be continuing their residency and partnership with Draíocht through 2017.

In May and June we worked with animator Jody Barker Rockett, AV designer Mick Cullinan, composer Dan Forde and performers Manus Halligan with Aoife Leonard on our new piece Conor: at the end of the Universe (previously titled 46 Billion Light Years From Home).

We are delighted to announce Conor: at the end of the Universe will premiere at Draíocht in October with a total of 4 performances. Part puppet show, part installation piece, part animated film, part immersive experience, part ballet; Conor is a sensory and artistic journey through space at time-bending speeds. This stunning and engaging production uses puppets, design, animation and music as Conor and his granddad bring you places that you've never seen before.

In other news from Collapsing Horse, we have been announced as the new Artistic Directors of the Kilkenny Cat Laughs Festival in 2017 and our new show The Aeneid has been announced as one of the Tiger Dublin Fringe programme highlights and will run from the 14-24 September. The support and resources of our Residency in Draíocht has allowed us to be bold and make work inside and outside of Draíocht itself.

Supported by Draíocht, Fingal County Council and the Arts Council through Collapsing Horse’s Theatre Artist in Residency programme at Draíocht.

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By Draíocht. Tags: Collapsing Horse,

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