Des Kenny Reviews Helen MacMahon - Profero

May 18, 2015

18 May 2015 - Our Arty Blogger is back! Des Kenny gives a personal response to our current exhibition by Helen MacMahon - Profero…



Art and science find common ground in Helen Mac Mahon’s show in the First Floor Gallery of Draíocht. These two divergent disciplines combine to form a dialogue which illuminates their parallel search for truth and beauty. The placement of the art works in the gallery seems to follow a hidden mathematical theorem for defining exhibition space. An ordered harmony of coherent intervals places each work exactly where it is required to satisfy a luminous eye.



Radii is placed on a slender white pedestal in a corner of the gallery. A square mirror painted in a medative black reveals a silver star in the heart of the equitable form. The black absorbs light while the silver mirror reflects light causing a shimmering tension on the surface and a sense of movement appears to occur as the viewer circulates the form. The act of looking transforms the indolent object into a twinkling illusion.

On the wall are four images created with the aid of heat cast by a variety of different light bulbs upon a heat sensitive material. The light source is on a timer which comes on and off in fifteen minutes cycles. Notional forms appear on the heated surfaces and fade like a spectrical entity when the surface cools. Steely blues and purples gather in the centre while emerald greens and toxic oranges flare out towards the edges. Pulsating cycles of presence and absence articulate these works with the parallel patterns of life and death that is part of life’s convulsive existence.



A sculptural arrangement of metal slinkies holds center stage on the gallery floor. The slinkies appear to float upon the white parapet and there surface ripples with illusory movement. A wave like pattern rolls across the undulating surface as the observer approaches the installation. The false sense of motion is triggered by the moving spectator. Our formulation of reality depends on retinal information that unfortunately provides false data to the brain. The perception of the world formulated by our glaring eyes is untrustworthy and doubt begins to gather on the abundant shores of reason.


Placed in a gentle curve are four Magnographs, beautifully crafted devices which display the effects of magnetic energy upon a receptive film. The inner workings of the device are displayed which of course raises the natural curiosity level of a visitor. The lid of the apparatus is tilted forward revealing a mirror showing the inverted image of magnetic material placed on the underside of the display surface. The bowels of the mechanism are exposed to inquisitive investigation awakening a beckoning call that lays deep within the human psyche, a desire for knowledge. The inclination to understand the unknown lifts a species beyond the control of its environment to controlling its habitat. The exquisite pleasure derived from comprehending the concept of these mechanisms is perhaps uniquely human.



While black is the predominant colour for the objects in this exhibition allowing light to focus on the viewing surfaces this technique is absent when looking at a group of digital photographs examining the luminous property of light. The white gallery walls surround the gleaming images with bordered neutrality, transporting the inner light of the photographs to flutter towards the visitors receptive eyes. Silver spectral shapes emerge from gloomy depths and float eloquently like snowflakes unwinding in the air. Circular shapes materialise from an ethereal blue as phosphorescent oranges and yellows simmer in the darkness.

All in all science and art collaborate on equal terms to present an engaging show from the thoughtful vision of Helen Mac Mahon. 
 

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


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, Helen MacMahon,

Des Kenny Reviews Sally-Anne Kelly - upon becoming aware of our Self

May 18, 2015

18 May 2015 - Our Arty Blogger is back! Des Kenny gives a personal response to our current exhibition by Sally-Anne Kelly ‘upon becoming aware of our Self’ …

Sally-Anne Kelly’s photographs and ceramic sculptures occupy the hushed quiet of the Ground Floor Gallery in Draíocht. The artist employs various mould making techniques to create a likeness of a person which is cast in clay to form ceramic sculptures. The eyes of the cast figures are closed, frozen in a sleep of forgetfulness. The calm of the gallery is stirred by rippling anxiety that maybe these closed retinal sockets might open and plead for your attention and help. Sorrowful eyes that corner your guilt and demand you to share unrequited suffering. The eyes impervious to the outside world remain shut but gaze inwards towards the featureless land of the forsaken.



The artist places these sculptures in shallow tide pools and photographs the somnambulant figures. Every person has different identities we project for the variety of public and personal situations that consume our time. The urgent need to project new identities of ourselves with social media has fragmented our calm private life into the straying reality of the glittering advertising sphere. The shape shifting desire to occupy a raptured dream persona overcomes the reticent self that remain content in the dull cloaked world of everyday existence. The new persona discards the old and they collect like empty mollusc shells on the sea shore. In one photograph a black coloured mask sinks slowly into the sand of a tidal pool. Drifting sand swirls upwards as if the last breath has exhaled in an unfulfilled sigh. This dark solemn face does not belong to the brightly coloured happy faced Selfies that are part of new media’s throbbing attraction. Undesired, the dark mask will sink into the quickening sands of the abandoned. In another photograph a face slowly turns on its side in weary resignation meeting the incoming tide like a derelict caught on clinging rocks, unable to float.



A bright blue face appears misplaced in this land of the lost, a gregarious presence more suitable to the brightly coloured world of the computer screen, than stuck in the mud surrounded by shells. Perhaps a countenance too exuberant, too over-the-top, manic and uncontrollable, while fun for a short time was tossed aside into shimmering pools of the forsaken. Some faces take on the fractured semblance of a fallen warrior, a hardened visor broken unable to withstand the humiliating loss of dignity. Shattered and desolate like somebody who is on the wrong end of cyber bullying and whose silver screen destruction imposes its mark on a fragile personality.



The ceramic sculptures on the ground form a roughly drawn circle stretching outwards from an empty centre. The faces rotate outwards away from an interior that is empty, multiplying beyond the control of a central force. The singular has become a multitude, a convulsive entity ready to respond to any situation in real or cyber space with a different persona. The outer image must conceal inner tensions and present a video streamed edited version of the self. They sleep and awaken when required to act out a role that responds to exterior stimuli. They perform to a script which will attract a fulfilling response and applause from similar entities. Some forms are distorted in an embryonic state similar to creatures in a science fiction film about to invade its human host. Can the void in the nucleus of this sculptural entity be filled once again by a guiding philosophy that keeps our core identity intact? Questions and thoughts linger on after leaving this show, transforming how we perceive and project our self-image in today’s culture.



Des Kenny chats to fellow artist Sally-Anne Kelly.
 

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


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, Sally-Anne Kelly,

Christmas Craft Fair 2015 - Call for Crafters and Artists

May 12, 2015



Draíocht Christmas Craft Fair 2015
Draíocht Blanchardstown
Saturday 28 & Sunday 29 November 2015, 12 noon-6pm


CALL FOR CRAFTERS & ARTISTS!

In celebration of Craft Year 2015, Draíocht is excited to announce its Christmas Craft Fair this November and is now looking for applications from stall holders. There are just 30 tables available (for the weekend) and priority will be given to crafters from the Fingal catchment area.
 

APPLICATION PROCESS

Due to the level of interest in Draíocht’s Christmas Craft Fair already, there will be a 2 part application process.

Those interested must complete and return an Application Form by May 30th 2015 ... Download HERE

On being allocated a place, a Booking Form with the non-refundable fee will be required by June 30th 2015.

Fee Structure:

€25 for two days for a 6ft table

€35 for two days for a 8ft table

€5 for two days for access to power


For further information or to have an application form posted to you, please call Draíocht’s Box Office, tel: 01-8852622 or email: marketing@draiocht.ie

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By Draíocht. Tags: Christmas Craft Fair,

Free Rehearsal Space 2015

May 11, 2015

Free Rehearsal Space 2015

Draíocht is offering rehearsal space from 04 August - 04 September 2015 FREE of charge to professional artists/performance companies participating in the Dublin Fringe Festival 2015.

There will be 3 spaces available (Main Auditorium, Draíocht Studio and Rehearsal Room). Spaces can be viewed on our virtual tour facility here ...  




As interest may outweigh availability, please write to or e-mail: Emer McGowan, Director, Draíocht. The Blanchardstown Centre, Blanchardstown, Dublin 15. Email: emer@draiocht.ie / Direct Line Tel: 01-809 8027.

 

With the following information (no more than 2 A4 sheets double spaced)

- Name of company and/or artists involved

- Concise details of the project to be rehearsed and if there is/are performance(s) scheduled

- Dates that the rehearsal space is required and if there is flexibility within those dates

- Which space you are interested in using

- How the piece is being funded

- Benefit of free rehearsal space to the success of the project

 

Closing date for receipt of information is 19 June 2015. Offers of space will be made by 10 July 2015.

 

Draíocht is generously funded by Fingal County Council with additional funding provided by the Arts Council.

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By Draíocht. Tags: Draiocht Info,

Clown Through Mask - Professional Workshop with Veronica Coburn

May 10, 2015

Clown Through Mask - Professional Workshop with Veronica Coburn
4 WEEKS / 06 JULY – 01 AUGUST 2015 / 10AM – 3PM DAILY

COURSE FEE: €500
DEADLINE FOR APPLICATIONS: 17TH JUNE 2015




Clown is the most beautiful art form. The red nose is a mask. All masks have an inherent character, a master that must be served. The red nose, the smallest mask in the world, articulates the character of the wearer. The clown.


The clown’s function is to say what needs to be said and do what needs to be done. The clown’s tool is the clown’s own humanity - the clown’s experience. The clown’s modus operandi is play - the clown’s innocence.

“If we ever faced all directions of ourselves at once we could only laugh at the beauty of our own ridiculousness.”  Richard Pochinko

Clown Through Mask was devised by Canadian Richard Pochinko (1946-1989), and draws from the Amerindian tradition of clown and modern European performance clown (Lecoq) to provide a comprehensive system of work that articulates:
A function for the modern performance clown
A definition of clown theatre

And provides:
The Building of a Personal Mythology to release the individual performer’s creativity
Exercises to allow students implement & practice new performance skills


Veronica Coburn is the author of Clown Through Mask – The Pioneering Work of Richard Pochinko as Practised by Sue Morrison. Written in collaboration with Sue Morrison, it is published by Intellect Press. She was a founder member of Barabbas - Ireland’s first dedicated physical theatre/clown company. As Draíocht’s Theatre Artist in Residence she runs Hallelujah! Draíocht’s Community Clown Choir. For Tiger Dublin Fringe 2014, Veronica wrote and directed Bernarda’s House, a poetic retelling of Lorca’s The House of Bernarda Alba for red nose, nominated for Best Production, Best Performer & Best Design.

About Veronica Coburn:
“The perfect facilitator: calm, clear, unbiased, and yet forthright and passionate.”
“..incredibly smart… emotionally as well as creatively astute. I felt totally safe in her hands from start to finish.”


The cost of the full 4 week workshop is an astonishingly reasonable €500.*
DEADLINE FOR APPLICATIONS: 17TH JUNE 2015
Applications by email emer@draiocht.ie stating name, contact details and reason for wanting to take part in the workshop.
Further details phone 01-8098027.


*Supported by Artist in Residence Scheme

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By Draíocht. Tags: Clown Choir, Veronica Coburn,

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