April 29, 2013
‘Have the courage to be seen …’
Self confessed FEEDER and top soup chef at Betelnut Café at Draíocht, Will O’Reilly, shares his thought’s on ‘Eternal Rising of the Sun’, coming to Draíocht on 23 & 24 May, 8.15pm.
Gina Devine, the outspoken, shape-throwing heroine of HotFORTheatre’s ‘Eternal Rising of the Sun’, is unhappy. Tormented by an abusive father, struggling through a teenage pregnancy and inheriting an idiotic boyfriend, Gina finds solace at the back of a local contemporary dance class. Her struggle to keep up with teacher Anto’s instructions illustrates her steely determination, a determination that has kept her afloat in a difficult life so far and she spares us nothing as she imparts her disturbing tale with humour, strength and poignancy.
I was fortunate enough to make the acquaintance of Amy Conroy, the actor/writer behind this powerful piece of theatre, during its rehearsal stage at Draíocht, whenever she popped out to me for (a much needed, I’m guessing!) coffee. Her modesty and soft Kerry accent belied the incredibly resilient, and uniquely Dublin, character that she, alongside director Veronica Coburn, were creating on a daily basis over the summer of 2011. With my interest piqued after our conversations, I went along to one of its earliest performances at the Dublin Fringe Festival. Words failed me after the stage went dark at the end of Gina’s account and I soon realised that I wasn’t alone. A stunned audience momentarily silenced by Amy Conroy’s powerful performance and trying to process what they had all laid witness to, leapt to a rapturous ovation.
I won’t lie to you; this is an incredibly upsetting play, difficult to watch at times but impossible not to. Gina, however, is a natural born story teller and she laces her account with a wicked sense of humour and some neat dance moves to boot. There is redemption, albeit difficult to swallow and an awareness that comes to Gina through the title of this piece.
‘Eternal Rising of the Sun’ has stayed with me long after its curtain fell, and the fate of Gina (and all the ‘Gina’s out there) have niggled at the back of my head ever since. Gina’s story needs our ‘courage to be seen’ and I look forward to its return to Draíocht.
ETERNAL RISING OF THE SUN
THURSDAY 23 & FRIDAY 24 MAY 2013, 8.15PM
Draíocht Studio // Tickets €18 / €14 conc
Duration: 80 mins (no interval)
BOOK TICKETS ONLINE ... HERE ...
BOOK TICKETS BY PHONE ON 01-8852622
WATCH A VIDEO CLIP ... HERE ...
April 26, 2013
Vincent Sheridan's exhibition, 'Animation to Murmuration' is running in Draíocht's Ground & First Floor Galleries, from 15 March to 25 May 2013. We asked Vincent to tell us a bit more about his life, experience and inspirations.
Vincent Sheridan, Cloudburst, etching
Q1: Tell us a little about yourself, your background, where you’re from and where you live?
I grew up on a farm near Kilcock, County Kildare. I lived there with my parents and commuted to my then place of work on City Quay Dublin. In summer, weather permitting, I made this round trip journey by bike. At this time I was doing a lot of competitive cycling with the Kildare Cycling Team. This daily exercise was part of my weekly training schedule. I moved to Donnybrook, Dublin in the mid seventies and remained in the city until emigrating to Canada in 1989. I returned in 1998 and now live in Drumcondra.
Vincent Sheridan, Evening Dance, etching
Q2: 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?
As a boy, I had no clear ideas about a career path, but being in the countryside I developed a keen interest in all aspects of natural history in the local area. I joined in the usual 'boyish' activities of catching pinkeens, stealing honey from wild bee nests/hives and making catapults and sling shots to hunt rabbits and other animals and birds which were often referred to as vermin.
Nonetheless, through these activities I was often very close to nature and therefore able to observe animals behave in their natural surroundings. These field excursions, usually at dawn, around the local fields were most rewarding and sparked a life long interest in animal behaviour. Gradually I realized the errors of my 'hunter gatherer' behaviour and replaced the urges to capture and collect specimens with field observations and communications with the local wildlife. After listening to and learning the calls of birds and animals, I was able to ply my skills in imitating and 'calling in' some birds and animals in the area. I had most success and fun each spring with the cuckoo.
This was the time when I remember attempting some pencil sketches of birds, usually copies from illustrations in my first bird book, The Observers Book of Birds.
My interest in art continued through the early school years, when regular studies were often neglected in favour of doodling with pencil and watercolours.
Vincent Sheridan, Glimpse of Starlings I & II, etchings
Q3: 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?
During the mid-seventies I embarked on a two year course of intensive studies (evenings) at the National College of Art in Kildare. After this I joined the Graphic Studio Dublin to study all aspects of Printmaking. In 1980 I got married to Brid Laffan from Co. Kilkenny. At that time we both agreed that we would combine incomes and from then on I would devote myself to full time art. Brid was an avid enthusiast and supporter of the arts, particularly literature, music and painting. She was a talented singer and was a founding member of the RTE Philharmonic Choir. My artistic endeavors always had her wholehearted support in good times and bad, even when she didn't particularly appreciate some of the themes and variations in the work. Sadly, Brid passed away in April 2006.
Vincent Sheridan, Murmuration I, etching
Q4. 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?
To supplement my income I have in the past worked as a part time art teacher at Second Level, both here and in Canada. Also, I occasionally teach courses on Greener Etching methods at Black Church Print Studio. I really enjoy some teaching but find that the demands of preparation and application certainly leave little room -head space-for ones own creativity. Some artists can manage this mix and are very well adapted when it comes to multi-tasking.
Vincent Sheridan, Murmuration II, etching
Q5: When did you create your first artwork and what was your subject matter?
My earliest memory of a 'First Art Work' was a watercolour, copied from a book on birds of prey. It was a small falcon called a Hobby -This was painted when I was age 15 or so when I had begun a life long fascination with birds of prey. This was followed by a very ambitious painting in oils, an exact? copy of Constable's 'The Haywain'. It was a very fine fake, if I may say so!
Vincent Sheridan, Ritual Dance, etching
Q6: Has your style changed over the years and what might have influenced this change if yes?
Yes, my style has changed a great deal over the years from the early watercolours already referred to, to the more recent abstract impressions of bird flocks (murmuration series) to the works based on photography and animated video images - works on plastic - based in the cut away bogs in the midlands. (See First Floor Gallery in Draiocht)
Vincent Sheridan, Tempest, etching
Q7: Have you ever tried other art forms like sculpting, making music, or dancing for instance?
I have only dabbled a tiny bit in sculpture during the Multimedia studies in DIT. I am interested in exploring a work combining some aspect of music/sound, perhaps in the next year or so. I usually leave the dancing until after the speeches at weddings!
Q8: What other artists or people have influenced or inspired you, and in what ways?
I greatly admire the works of Hieronymus Bosch, Cezan, vanGogh, Toulouse-Leutrec, Twonbley, Nora McGuinness. I am inspired by the works of Jackson Pollock, Brigid Reilly, Patrick Scott, and more recently Ai wa Wa, Jackie Invine, Joy Gerrard, Mark Garry and Anthony Little.
Some of the above artists inspire by their ability to work with multiples, i.e. employing a wide variety of materials and methods of mark making, using a repetition of lines and dots to build an image, sometimes in a minimal way, and conversely, on a monumental scale as in the works of Anselm Keefer and Ai Waiwai.
Q9: What is the thing you most enjoy about your work?
I mostly enjoy the element of surprise in my work. Although disappointment is sometimes the end product of a imagined idea. Each piece is like a planned journey with an imagined ending or destination. Sometimes the would be destination is never reached as the journey may veer off down a side road and end at a much more satisfactory destination.
I pay particular attention to peoples responses to my work. Often a given print, painting or video piece will reawaken and unlock a flood of stories and images from past encounters and experiences, mostly relating to the natural world. The stories are a mixture of the real and imaginary. The responses are often a wonderful blending of folklore, myth and memory. It would be nice to think my work is sometimes connecting the viewer to past memories, while at the same drawing attention to other ways of perceiving and connecting with the richness of our natural environment.
Q10: How do you keep motivated if you’re having a bad day?
It is always difficult to navigate through a 'bad day' given that such days usually arrive out of the blue and totally unannounced. My own strategy is to step back from the problem and try to regroup. This can best be achieved by maybe taking a break, making a cuppa and contemplating the problem. A kind of staring at the proverbial canvas. It is often a good idea to take a walk around the block, get some fresh air which can be good therapy for relieving any mental blockages and refocusing on the task at hand.
Q11: How have you handled the business side of being an artist, promoting yourself and getting exposure, selling your work etc?
Handling the business side of being an artist is usually the 'Beecher's Brook' for many colleagues I talk to. We just want to put our heads in the sand and get on with creativity. Having an friendly advisor/support system with a good listening ear is very worthwhile. Ideally, this can be your supportive partner/spouse/friend or family member. For me it is essential to have an accountant who will take care of the annual headache of making returns. This helps to free up your 'head space' and allows you to get on with your work. Also, join an arts organisation such as Visual Arts Ireland who offer a wide variety of support systems and programmes geared specifically to the requirements of being an Artist.
Keep a keen eye on Gallery Open Call Notices and similar opportunities from Arts associations and the like. Get going by submitting to open competitions, group shows both local and international. Remember the motto' the people who show up run the world'.
Q12: Could you tell us a little more about your current exhibition in Draíocht? How long have you been preparing for it?
This current exhibition is based on an ongoing project based on the minimalist pattern of birds in flight. The aim is to catch the 'brushstroke' patters of flight in a minimalistic way. This imagery was colourfully described by the poet Brendan Kennelly who likened such spontaneous murmurations to 'a fistful of black dust flung in the air'. The other dimension to this show is a result of experiments using a mixture of synthetic materials which are painted on and manipulated by sunlight and landscape as backdrop, then photographed in order to create distortions and illusions in the subject matter. This work was undertaken over the past three years or so.
Vincent Sheridan, Murmuration Video, Still 1
Vincent Sheridan, Murmuration Video, Still 2
Vincent Sheridan, Murmuration Video, Still 3
MORE ... Enjoy snippets from the video piece Murmuration ... here and here ...
Q13: Have you any future exhibitions planned?
Some group shows planned. Also, some works in the annual RHA Exhibition
Q14: Do you have any advice you could give to an artist just starting out?
The main object of an artist starting out is to believe in what you are doing and be motivated and enthusiastic about your subject. Keep an open mind any don't be afraid to ask questions, share ideas and experiment with different ways of expressing yourself. This process should lead you down the path of identifying and 'finding your voice'. Once you are fired up and committed to what you want to achieve, then believe in it and forge ahead. In other words, having found your voice you now have to be heard, so perform, 'sing up' and put it out in the public domain.
Be patient, as this could take some time to achieve.
Q15: Where do you see yourself in 10 years?
I cannot predict the future but my wish would be that ten years from now I would retain the urge to be creative and to continue to express new ideas and ways of communicating my interpretations of aspects of the natural world.
Q16: What are your interests and hobbies outside of your artwork?
I continue to derive great satisfaction from the natural world, whether exploring in the Arctic regions, Irish and European mountain landscapes, or just being in the garden! I have always been involved in fitness through sport, particularly cycle racing, tennis and hill walking. I enjoy music, classical, traditional and some blues. I am a former member of The Guinness Choir. And of course relaxing with a book and a glass of Gigondas.
More information about Vincent's current exhibition in Draíocht can be found here ...
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