Collapsing Horse - Draíocht’s New Theatre Artists in Residence 2015/2016

August 6, 2015

Our 3 year Hallelujah! Clown Choir Project with Veronica Coburn ends with a bang in October with their final production, Ship of Fools and we are delighted to be welcoming our new Theatre Artists in Residence to Draíocht, Collapsing Horse ...

‘We’re Collapsing Horse, we’re a young theatre company from Dublin and we’ll be the new Theatre Artists in Residence in Draíocht 2015/2016. From January 2016 we’ll be working with D15 Youth Theatre, sharing our skills in puppetry and using theatrical illusion to bring ordinary objects to life. We will also be utilizing Draíocht’s Studio and technical facilities to develop a new play called Conor, about a child who journeys up to the sky. We use projections, animated backgrounds and live puppetry to create the experience of seeing the scale of the universe for the first time. We’ve had a great relationship with Draíocht since they presented our first show, Monster/Clock in 2013. We were back again in March 2015 with our creepy fairytale Human Child. We’re thrilled to be supported by Draíocht, Fingal County Council and the Arts Council to be making new work while engaging with Draíocht’s young audience.’

To find out more about this Residency, email Emer McGowan, Director Draiocht,

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By Draíocht. Tags: Theatre Artist in Residence, Collapsing Horse, D15 Youth Theatre,

Early Bird - Book Before 09 September 2015

August 6, 2015



Full price: €18 // Early Bird: €14

Full price: €7.50 // Early Bird: €6

Full price: €18 // Early Bird: €10

Full price: €18 // Early Bird: €14

Full price: €18 // Early Bird: €14

Full price: €18 // Early Bird: €14

Full price: €18 // Early Bird: €14

Tickets must be paid in full before 09 September 2015 to avail of these Early Bird Offers.
A maximum of 6 tickets can be bought at these prices per person.
Not applicable to group bookings.
BOX OFFICE 01 885 2622 or Online ...

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By Draíocht. Tags: Early Bird,

Dublin Theatre Festival 2015 on Tour to Draíocht

August 5, 2015

We're very excited to announce that Dublin Theatre Festival 2015 will tour 3 shows to Draíocht this September and October.
Tickets are now on sale with 2 Early Bird offers, if tickets are booked before 9 September 2015.
Read more about each show by clicking the link ...

Moonfish Theatre & An Taibhdhearc
In the winter of 1847 the famine ship Star of the Sea sets sail for the Promised Land ...

THURS 24 - SAT 26 SEPT 2015 8PM / Main Auditorium //
Tickets: €18 / €16 conc / Groups of 10+: €14 / Early Bird: €14 (Book before 09 Sept 2015)


HotForTheatre and Galway International Arts Festival / Written by Amy Conroy
Laura returns home for the death of her father, but Laura is now Mark ...

WED 07 - THURS 08 OCT 2015 8PM / Main Auditorium //
Tickets: €18 / €16 conc / Early Bird: €14 (Book before 09 Sept 2015)

Verdant Productions / Written by Gillian Grattan
Attractive young Dubliner, Lydia retreats to a small country village in an attempt to escape from her past and reinvent her future ...

SAT 10 OCT 2015 8PM Main Auditorium
Tickets: €18 / €14 conc


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By Draíocht. Tags: Dublin Theatre Festival, Theatre,

Des Kenny Reviews Marc Guinan - ‘What is Painting?...’

August 4, 2015

31 July 2015 - Our Arty Blogger is back! Des Kenny Reviews Marc Guinan ...  

Marc Guinan's minimalist paintings delineate the walls of Draíocht’s Ground Floor Gallery with sustained colourful rhythms and material presence. They follow the minimalist doctrine propounded by New York artists in the 1960’s which declared the use of simple geometric forms, a monochromatic palette and the use of industrial materials presented unadorned in their primitive state. The basic substance of these paintings is manufactured by pouring acrylic paint over glass or acetate and when dry it is peeled away, cut and placed over a stretcher. An infinite variety of presentation is created by tilting the stretcher at various angles, allowing folds ebb and flow unceremoniously over the gallery walls. They become less mechanical structures that have a closed perceptual engagement but grow into an open organic composition that flickers outward into the connected space of a painting and receptive eyes.

The painting called Cream allows the folds of material cascade downwards like the sheets of clothing carved into white marble by renaissance and baroque sculptors. This allusion to art history and the creation of a metaphorical reference for minimalist painting appears to deviate from the aesthetic context of the New York school but it does allow a broader uninhibited interpretation of these works and enriches the visual experience. Indeed in Blue Black, the shadow cast by the work appears to create a bat like image on the gallery wall, of course an unintended result of gallery lights falling on the painting. Can this Blue Black painting be an observation of the night sky with a shadow of a bat reinforcing this analysis? These paintings become a battleground between personnel observation and an art historical framework which at times are unable to couple a truce between these conflicting arguments. This argumentative tension does not overwhelm these works but adds another dimension to their sculptural presence.

In Yellow Purple this conflict is less pronounced and does not obscure the materiality of its fabrication with its visual realisation by the viewer. A flat meditive yellow rectangle tilted off centre is disrupted by a rippling flap of purple. The combative nature of complimentary colours increases the tension in the piece as both colours vie for supremacy. The sedate yellow does not allow the strident purple to dominate the composition but the serenity intensifies as the colourful interference by the reflective yellow deepens.

Both sides of the plastic material which make these paintings expand outwards in an architectural sweep on the gallery walls and at the same time an inverse momentum returns the fabric to the centre. In  Green Red this theme is explored fully as the plastic material in a triangular form points with certainty at the green centre as a secondary red triangle emerges and reinforces this motion inwards. The right hand side ripples away and loops back like the drop curtain on a stage. Yet behind all these urgent sweeping shapes flapping like a sail in the wind there is a focused stillness tautly holding the straining composition together. Movement, calm and complimentary colours combine to ratchet up our visual awareness as the flowering forms unfold on the gallery walls.

There are a number of small square canvases which explore and move away from the self imposed restrictive palette of the larger paintings. A greater number of colour combinations inventively activate the surface of these works. A silver canvas has an orange centre surrounded by a black and white square with a piece of green strip pushing beyond the canvas surface. In other canvases thin strips of material twist and twirl on the picture plain, goading colours to escape their monotone backgrounds. In these small works the artist appears to strive beyond the doubtless weathered parameters of minimalism towards a more inclusive personnel vision.

Read more about Marc'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, Marc Guinan,

Des Kenny talks to Andrew Carson Artist in Residence at Draiocht

July 7, 2015

07 July 2015 - Our Arty Blogger is back! Des Kenny chats to Andrew Carson ...  

Andrew Carson is the current Artist in Residence in Draiocht Blanchardstown, until December 2015.

Large unadorned glass windows reveal the inner sanctum of the Artist’s Studio to the passing public as they meander with restless intent through the clamorous bustle of a commercial shopping centre. The transparent shield of glass protects the studio from prevailing urgency of time speeding forward as shoppers obey the beckoning call of consumerism. Inside the studio time moves slower, snared by the artist’s reluctance to allow creativity become a porous commodity but a place where the imagination unfolds unbound in dream like intervals. Now and then a passerby smitten by curiosity will stop and look at the artist as he works and maybe walk away with an incomprehensible desire to reflect on the hubris of modern life. Andrew displays a video at night to create an audience for his practice when he is absent from the studio. The video contains people walking back and forth on a nameless street overlaid with words of a song. The words of the song surround and occupy the same space as the people in the video, not impeding their passage but allowing the world pass by in a stream of subliminal information.

We talk over the methodical whirr of a machine that is cutting paper to a design created by the artist. The paper is covered with a protective plastic film upon which a dark night sky is displayed. The odd star twinkles in the all consuming infinite darkness. The paper is then folded and a tetrahedron is constructed.  These objects are found hanging from the ceiling in various arrangements or are placed on a pedestal to form a pyramid structure. In one particular format they are suspended from the ceiling silhouetted against a black painted wall granting the illusion that they float unaided in space like a magicians trick. In another arrangement they hang like a mobile Calder-like sculpture which begins to twirl in a confined orbit after a gentle nudge from the artist. He tells me that the work is displayed in an experimental fashion and a final decision waits unuttered. The large studio space permits the artist room to gaze languidly inwards into the rarefied hinterland of the imagination and then glance into the distance of concrete reality and discover if an idea can satisfy both inner and outer realms. This is a luxury for the artist as he explains how he shared a space with a number of other artists and the constant demands to negotiate and accommodate the needs of each person’s artistic ambitions aggravates the calm required to produce art.

Fixed to a supporting pillar is a large sheet of binary notation. The artist explains that it is part of a coded message sent into space on a satellite searching for life in outer space. It is the artist’s intention to make a large version of this message and display it in some fashion in a future exhibition. The off cuts from this process are not discarded but find themselves stuck on the opposite side of the pillar and create a meandering line searching for a purpose.

On a makeshift table a cowled figurine like an unannounced dark prophecy stands starkly profiled against a white wall. Maybe it is a machete for a grand sculpture where a larger version will reveal the reason for its shrouded mystery. Beside the figurine is a bug eyed skull that appears to gaze humorously at life’s unfulfilled expectations. The skull knows our final destination and whether time moves slow or quick we are destined to meet in his breathless kingdom.

Some artists draw the blinds down while working in the Draiocht Studio, demanding privacy and excluding the outside world from interfering with the creative process. Andrew Carson allows the passing world look at him making art, fulfilling the vision of the buildings architect who thought the artist and the local community could engage openly. This discourse the architect believed would have a profound effect, enriching the lives of both parties.

Read more about Andrew ... 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, Andrew Carson, Desmond Kenny,

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