Artist Interview – Michael Wann

April 14, 2011

Website interview with Michael Wann – 14 April 2011



Brief Intro:

Wann’s work is specifically drawing-based, and juxtaposes arbitrary or transient images of cleared landscape, with more thought provoking depictions of the dereliction of habitation. The work is as much about a process of mark-making as it is about representing a seemingly neglected landscape.

Born in Dublin in 1969, Wann lives and works in Co. Sligo. He has held solo exhibitions at the Linenhall Arts Centre, Castlebar (2005), the Ashford Gallery at the RHA (2009), and Sligo Art Gallery (1999, 2002, 2005, 2009), where he won an Iontas Drawing Award in 2000. He has been awarded residencies at the Cill Riallaig Project, Co. Kerry (2001, 2004, 2008, 2010), and fellowships at the Ballinglen Arts Foundation in North Mayo (2007, 2008). He has been selected for the RHA’s Annual Exhibition since 2004, where in 2006 he was awarded the AXA Insurance Drawing Prize. In 2010 Hughie O’Donoghue selected Michael’s work for both the Tom Caldwell Drawing Prize and the Rowel Friers Perpetual Trophy at the Royal Ulster Academy’s 129th Annual show.

“Michael Wann’s fragile ephemeral images of derelict buildings depict a rare transient quality which is both harrowing and beautiful, evoking themes of memory, neglect and loss. Despite, or because of his expert skill as a draughtsman, it is within the versatility of the medium (charcoal and water on fine grain canvas) that there exists a delicate balance, between an imperfection of process and an exacting act of observation, adding a poignant vulnerability to this new body of work.”

Clea van der Grijn

 

Q: Tell us a little about yourself, your background, where you’re from and where you live?

I’m from Dublin originally. I came to Sligo in 1987 to do a one-year cert. in art and design, and pretty much never left. Sligo’s dramatic landscape caught hold of me straight away, and thoughts of returning to city life dwindled. I completed a Diploma in Fine Art at the then Sligo RTC’s art department. Sean McSweeney was our painting lecturer, and in retrospect I realise it was he who introduced me to the notion of the importance of a ‘sense of place’. He spoke of the landscape in a way I hadn’t heard before. I live in north Sligo, on the edge of Lissadell estate. It’s a place I miss when I’m away from it, and coming home is almost always a relief.


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?

I’m told I always scribbled and drew as a child, though I have little recollection of it. As a teenager at school art was an automatic choice and I don’t remember ever wanting to do anything else.


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?
 

When I left college in 1992 I had no notion of what to do and knew little about being a professional working artist. The diploma I did was great for making you love the smell of oil paint or teaching you how to make a stretcher, but in terms of information or support in how to be an artist it was pretty crap. I didn’t want to study further as that would have meant city life somewhere. I worked on a shellfish farm for ten years and made drawings on the kitchen table by night. I’ve always felt that ‘drawing’ chose me, rather than me it.





Q: When did you create your first work and what was your subject matter?

My first work?!? Jeepers…I made a series of paintings for my diploma which were loosely concerned with the relatively murky issues surrounding my being adopted. I suppose I’d consider that as my first venture into making ‘real’ work, though needless to say it was studenty and indulgent…


Q: Has your style changed over the years and what might have influenced this change if yes?

I’ve been working in black and white for twenty years now, with occasional forays into colour. But I’m always drawn back to monochrome. As an artist you cant help but be influenced by other work that you see, and these influences can be subtle or direct, but also can be very slow to emerge in your own work. I remember seeing Leonardo’s Virgin and Child in the National Gallery in London as a teenager and being blown away by it. And strangely enough it remains a must see on occasional trips there. Some days in the studio I’m working on very detailed things, spending hours or days getting detail right, then the next day I might be hopelessly pushing charcoal around a massive piece of paper, and generally making a big grey mess. It depends



Michael Wann, No Ghosts 1, charcoal & wash on canvas, 70 x 70cm


Q: Have you ever tried other art forms like photography, sculpting, making music, or dancing for instance?

I take an awful lot of photos for my work, but always regard this as a backup to the main event of drawing. I sometimes think I’d like to do some sculpture, and certainly printmaking holds a fascination.


Q: What other artists or people have influenced or inspired you, and in what ways?

There’s too many to mention really. Let’s see…when you see work in the flesh it makes a huge difference, so seeing Picasso’s ‘Gurnica’ in Madrid was an unforgettable experience. I never really ‘got’ Matisse while in college, but seeing some of them in New York changed that. I love the work of Jean Baptiste Corot, but really, there are too many artists both long dead and contemporary that I admire... In terms of contemporary Irish work, I remember being blown away by Diarmuid Delargy’s prints, so influenced by Rembrandt’s etching, Picasso’s too, but so very much their own. I’m also as influenced by poetry and fiction, Cormac McCarthy being a major influence on my thinking about landscape and the representation of it.




Michael Wann, No Ghosts 3, charcoal & wash on canvas, 70 x 70cm

 
Q: What is the thing you most enjoy about your work?

Very occasionally a piece of work will breath or sing all on its own, either during the making of it, or rarer again, long after completion. Often when you’re right in the middle of it it’s the most rewarding time, lost to all the flotsam of daily life and absorbed fully in the mark-making process. That place where everything tastes of charcoal and your arm and brain buzz from the repeated discovery of all the types of marks you can make, rational and intentional, or spontaneous, accidental and random. Stopping, knowing when a thing is done is as important as anything; I’m guilty continually of over-working a drawing and watching it die right there before me.


Q: How do you keep motivated if you’re having a bad day?

Just keep working generally. Work through the frustration or failure. Or just go home, focus on life’s other surprises; there’s nothing like daily life to make you realise your work isn’t half as special as you sometimes think, and going back into the studio next day I often feel this; which of course just makes you push harder towards making it better…


Q: How have you handled the business side of being an artist, promoting yourself and getting exposure, selling your work etc? How has the recession impacted on your livelihood?

It’s gotten easier as my work has become a little better known. And I’ve become more confident about talking about my work, which is an essential part of being an artist but also an understandably difficult thing for many artists. The recession has impacted on the arts across the board and in terrible ways. I made a living from my work for many years. That’s gone now; I’ve seen my entire salary wiped out almost overnight. It’s a hard hard time for all. Somehow though, being in the studio and working hard has never really been about money. It’s always rewarding to sell work of course, but in the making of it, the notion of sale mustn’t be a feature. If it does, in my experience, there’s more chance that the work is failing, or isn’t as true as it might be.

Q: Could you tell us a little more about your exhibition in Draíocht’s Ground Floor Gallery ‘Derelict’? Do you go looking for specific derelict buildings, and if yes, how do you choose which ones to draw?

Most of my work is about the notion of neglect or abandonment, within a landscape-based context. There are personal themes underlying the work of course. ‘Derelict’ as a body of work, evolved from time spent on residency at the Ballinglen Foundation in Ballycastle Co. Mayo and at the Cill Rialig artists’ retreat in Ballinskelligs Co. Kerry a number of years ago. I had been aware for a number of years that my birth father had died in Kerry, and having never met him, felt an odd kind of draw to the county. And so choosing abandoned dwellings as a reference point seemed like a way of somehow striving to make a vague connection, or to articulate a sense of loss or regret for things past…



Michael Wann, The Past is Stone, charcoal on canvas, 70 x 70cm



Q: When I look at your work, I’m immediately drawn towards the houses that remind me of my grandparent’s house. Do people often tell you about their memories of certain buildings, jolted perhaps by looking at your work?

People react differently to some of my work. There is a natural nostalgia in many of us I think. I’m not necessarily that interested in nostalgia per se, not where the derelict buildings are concerned; as I said before, its more to do with articulating or understanding a sense of loss, whether it be deeply personal, or just about changing times and the natural cycle of the crumble and decay of habitation.


Q: You have two more exhibitions coming up this year, can you tell us a little bit about them?

I’m showing at the Cross Gallery in Dublin in July of this year, with an exhibition called ‘we seek another place to rest’. It’s a show of small and large-scale drawings of piles of sticks and other features of neglect. In some ways it’s a much more personal show than ‘Derelict’, at least that’s how it feels, as it charts in an indirect way more profound issues of trauma and loss. But of course folk can just see it as drawings of sticks if they want… Then I’ve a show with Droichead Arts Centre in August entitled ‘Sticks and Stones’. Can you guess what that one’s about?!?


Q: Do you have any advice you could give to an artist just starting out?

Study law………only joking. Dunno really, what ever you’re making that it be the best it can be, in terms of technique or facility of medium. I was never any good when I started out at promoting myself, and it’s a vital part of the art world, to either be able to do it yourself or better again have a gallery do it for you.


Q: Where do you see yourself in 10 years?

Making work.


Q: What are your interests and hobbies outside of drawing?
 

Music, books, walking, the inexplicable ‘looking’ at landscape, boating on the Shannon, my family, all that stuff…
 



You can find more information about Michael’s work on his website:


http://www.michaelwann.com/
 

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By Draíocht. Tags: Reviews & Interviews, Visual Arts, Michael Wann,

Launching tonight ... Earliest Memories Through a Pinhole Camera - 7 April 2011

April 7, 2011

Launching tonight ... Earliest Memories Through a Pinhole Camera - 7 April 2011

Come along for tea and buns tonight at 7pm as we launch our gorgeous exhibition 'Earliest Memories Through a Pinhole Camera', 7pm, First Floor Gallery ... Read more on Garvan's Blog Here ... http://garvangallagher.wordpress.com/2011/03/25/earliest-memories-through-a-pinhole-camera/


Draíocht’s programming strives to provide opportunities of engagement with a wide variety of high quality, enjoyable, challenging and meaningful arts experiences for the community. Our Visual Arts and Youth Arts Programmes endeavour to support and encourage visual artists through our residency scheme, gallery exhibitions, facilitated projects and lectures. Earliest memories through a Pinhole camera is not only a beautiful exhibition of work, it also represents an effort to fulfil these commitments and demonstrates our dedication to developing innovative and socially relevant projects by building collaborative relationships with excellent visual artists and members of our immediate community.

This exhibition has its roots in the development of a 15 month residency scheme for Draíocht’s artist studio. As part of this residency, the artist would facilitate a community project to culminate in an exhibition shown during Spréacha – Fingal’s International Arts Festival for Children. By ensuring a quality of experience, twinned with a policy of access at its heart, Spréacha has, in its short life become a bench mark for Irish children’s festivals. By combining theatre performances with family days, workshops and specifically programmed exhibitions, the festival is about a whole arts experience. This year’s exhibition takes access quite literally by programming work not only for people in the community, but also by people in the community.

For the success of this project, it was important that the facilitating artist had a willingness to share their expertise and knowledge and an inherent interest and commitment to community involvement that mirrored our own. Garvan Gallagher was such an artist. His engaging photographic work looking at the invisibility of older people mixed with our history and experience of working with younger people made his suggestion of an Intergenerational project an exciting concept. As intergenerational suggests the project was made up of young and not so young participants. They gathered in Draíocht for weekly workshops, dark room sessions, discussions and tea breaks, along with walks and museum visits. The culminating exhibition Earliest memories through a Pinhole camera clearly reflects the great creativity, effort and energy on behalf of Garvan and the thirteen participants. Behind this exhibition lie two of Draíocht’s core values; the on-going support of professional artists and the continued nurturing of our relationships in the community, which allowed schools and parents to entrust their students to us and gave older people the confidence to take part in this project.

In a contemporary world, outside the family, there are not many opportunities for younger and older people to work together. This project created a space for these different groups to come together in a way that may not have been otherwise possible. By promoting such interaction between mixed audiences, we encourage new and shared experiences. These experiences work to promote the acceptance of differences, to overcome prejudice and stereotypes. This element is powerfully seen in the decided subject matter of the participants. Rather then focusing and identifying their differences the project explores a shared experience. One that we all share regardless of age, gender or background - that of an early memory. This project has also allowed members of the community to become cultural producers themselves; part of an artistic process that puts them at the very centre of Draíocht’s programming and projects.

Draíocht would like to thank and congratulate Garvan and all the artists involved. While the outcome is manifested in a wonderful exhibition of art work, we also hope that the process and experience of the project is something that lasts as a positive, new memory that will stay with each participant well into the future.

Sarah Beirne
Children and Youth Arts Co-ordinator

Niamh Ryan
Visual Arts Administrator
 

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By Draíocht. Tags: Visual Arts, Garvan Gallagher,

2001-2011 Draiocht celebrates 10 years of Arts and Entertainment in Blanchardstown

March 30, 2011

2001-2011 Draiocht celebrates 10 years of Arts and Entertainment in Blanchardstown

2011 sees Draíocht celebrate our 10th birthday.  It has been an exciting 10 years as we sought to bring all our audiences of all ages a diverse range of high quality arts experiences. So whether your interest lay in attending performances, creating work or participating in workshops, we have programmed it, here in your local venue.  50,000 people a year attend events at Draíocht, many more attend our galleries, use our facilities and drop into us for a coffee at Betelnut Cafe. To all of you and to all of the artists from all disciplines that enable us offer the programmes we do, a very, very, big thank you. It has been our pleasure to work for you and we will continue to offer you the same great range of experiences in the years to come.

A special thank you must be given to our principal funder, Fingal County Council and to the Arts Council who provide additional funding. Without this public funding, Draíocht would not be able to bring you the range of work we do.

thanks to our Funders


Our January to April 2011 programme includes comedy, music, theatre and dance so do have a good look inside our Season Brochure when you get it to see what’s in store for the next few months.

Our favourite Panto group kick off our 2011 performance programme with their production of The Wizard of Oz, one definitely not to be missed. Spréacha, Fingal’s International Arts Festival for Children takes place from 13-20 April 2011. With 5 shows on offer for children from 2 to 12 years we hope you can join us for what is always a great week. A full range of workshops and projects for family and school groups are also available throughout the season. A packed exhibition programme and a range of evening classes are also available.

Stay tuned to our web-site for full information on all aspects of our programme as well as video clips, artists interviews and up to the minute offers and information.
Remember to book early for all events and when you need a little pick me up or a lovely lunch, do drop into our Café, Betelnut at Draíocht, to sample some great food and beverages.

Emer McGowan
Director

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Artist Talks at Draíocht this March

March 9, 2011

Artist Talks @ Draíocht March 2011


As part of our current season of exhibitions Draíocht is delighted to present two artist talks –artists Sarah O’Brien and

Nuala O’Sullivan will both hold public discussions on their work this March. Sarah O’Brien on Saturday March 19th at  3pm

and Nuala O’Sullivan on Thurday March 24th at 11am.

 

Sarah O’Brien - A Circle Dance - Artist Talk - Sat 19 March 2011 @ 3pm

 

Exhibiting artist Sarah O’Brien will discuss her practice and current exhibition “A Circle Dance” in Draíocht First Floor Gallery on

Saturday March 16th @ 3pm.

 

This is a free event.

 

A Circle Dance - Until  March 26- First Floor Gallery

**************************************************************************

 

Nuala O’Sullivan – Surfacing - Artist Talk & Screening - Thursday 24 March 2011 @11am

 

Draíocht will host a morning of discussion and exploration of Nuala O’Sullivan’s exhibition Surfacing. O’Sullivan

will discuss her practise and influences in the context of her current exhibition followed by the screening of a

Super 8 film, used by the artist as source material for her current series of paintings.

 

This is a free event but place are limited and booking is essential. Please contact Draíocht’s Box office on

01 885 2622 to reserve your place.

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THE TINKER’S CURSE is a heart-searing, heart-searching piece of work ...

February 14, 2011

Ten42 Productions presents The Tinker’s Curse
WRITTEN AND PERFORMAED BY MICHAEL HARDING
WITH LIVE MUSIC PERFORMED BY FINBAR COADY

WED 2 MAR 2011 8.15PM Draíocht Studio // €16 / €12 conc
Now Booking





Michael Harding’s highly acclaimed production “The Tinker’s Curse”, which tells the story of a travelling man who climbs Croagh Patrick to do penance for the sins of a lifetime. Performed by the writer, accompanied by musician Finbar Coady, The Tinkers Curse is a funny and sad night in the theatre; a rare insight into the joys and sorrows that make up the life of an Irish Traveller. Harding plays Rattigan, a traveller old enough to remember the old days when the travelling people had a place in the scheme of things, fixing pots and pans. However “Plastic killed the Travelling People” he tells us and much of the traditions and lore have been lost.
 
In what is a tour de force Harding breaks many of the conventions of the theatre as he embarks on his story, Rattigan’s story, and his need to tell us who he is. Along the way we meet his wife Julia, the 7th daughter of a 7th daughter, who has “been in the audience of the Late Late Show”; his daughter Michelle, who is blissfully unaware of the effects her blossoming sexuality has, and Johnny Reilly, a “buffer” or settled man who comes a courting. Rattigan has no grá for Johnny, whom he describes as looking like a “haunted horse at midnight” and thinks of him as being “as useless as a chocolate teapot”. However like Johnny we are drawn into crossing the threshold of a travellers wagon and true to Rattigan’s description this is a very big journey.

Emer O Kelly (Sunday Independent Jan 2010) had this to say of the production "He stands on the stage, defeated, shambolic, rambling. He is a helpless father, a bewildered husband, an angry butt of majority hatred ... a travelling man .... MICHAEL HARDING'S NEWLY ADAPTED VERSION of his own THE TINKER'S CURSE is a heart-searing, heart-searching piece of work, provoking tears and haunting the soul. If it doesn't live in dramatic memory, we have neither folk memory nor capacity for pity........Harding's performance is nothing short of GLORIOUS - a piece of sustained dramatic economy that is performance art of SOARING, INCANDESCENT STRENGTH. Every gesture tells, every step is measured, every pause significant, every subtle change of tone adding to a threnody for a dying soul... If audiences are not hanging out of the rafters in future venues, there is no soul for drama in Ireland."


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By Draíocht. Tags: Theatre,

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