Wolf Lorien

"Toward an Ethical Portrait: Development of Dialogical Audio-Visual Representation of the Sitter"

In her book ‘Conversations before the End of Time’, Suzi Gablik comments that “…the move away from autonomous art – art that is cut off from any social or communal definitions – is happening whether we like it or not, and is bringing about a very different relationship between artists and the public sphere.

”Gablik, Suzi. Conversations Before the End of Time. Thames and Hudson, New York. 1995 Intro. P30

Laura McNamara

There are many things about the earth that we know nothing about. For example, less than 10% of the ocean has been explored. Science is the catalyst for our understanding of the world around us.

     In about 1685 a German scientist called Godfried Willheim Leibniz wrote,

“There is nothing monstrous in the existence of zoophytes or plant animals....on the contrary it is wholly in keeping with the order of nature that they should exist.”

In 2009, through experimentation, scientists discovered a sea slug which can produce its own chlorophyll; therefore it has the ability to perform photosynthesis and make its energy directly from the sun.

“Novelties come from previous unseen association of old material. To create is to recombine.”

I have taken this idea of a plant animal and imagined this evolutionary process continuing. My bio-morphic creatures are being examined as we try to make order out of our random world.

Maurice Reidy

My approach to my work makes use of documentary methods. I study the discourse by examining the issues. I began to ask questions. What and where are our secret Spaces? Where do our rights of passage take place? And what are the spaces that allow for their own discourse? For example water and cleansing something relate to the purifying of the soul (I chose the bathroom as my documentary surrounding). I used this space as a method to penetrate the domestic situation. I wanted to create a non-explicit narrative, focusing on the moments “in between.” Using only traces of my life to fill-in the unanswerable questions of the “mysteries of my life. Even though my work is autobiographical to a point, I want to leave “narrative certainty” to the viewer. Even if narrative is not potent in the work.  

Nigel Oxley

In common with most poets, the process of creation usually commences at a point of recognition, understanding or sensation. Ideas and feelings are phrased into rhythmic patterns which convey the tone and content I intend to share.

As represented in the table layout, the cerebral and affective elements are fused slowly together over a period of lengthy refinement. Jottings become linked statements, statements are bound into an appropriate rhythm and at varying points, imagery emerges to animate or even inform the narrative structure.

perception imagination

synthesis  coalescence

reflection refinement

Or words to that effect …

Jade Hunt

Process of the work

The process of this work is really a therapy for a person suffering with the “Pica” disorder. By building a room full of furniture made from the very materials that they are eating helps them t see the problem in a public way. By grating the soap, burning the matches and gluing the cardboard they become more self aware and self conscious of how others perceive this problem and therefore it becomes therapeutic. They can now try and leave the “pica” problem behind by leaving the materials in a new state of purpose and therefore somewhat leaving the problem behind.

Clive Moloney

I have fabricated the artwork from auctioneers signs made from corrugated plastic/corriboard. The corriboard was found in my temporary studio (Faber Studios).
The building was previously an unused retail space with the auctioneer’s signs in the window for an advertisement. The corriboard best describes my creative process as they reflect my unstable studio situation and have previously been used to mix cement on when casting an alternative artwork.

Lisa Burns

I am very much interested in geometrical and architectural forms and I wanted to develop this through my work.  My work began by taking simple forms and exploring the possibilities within them and altering these to see what would happen.  In working with plaster forms, it allowed me the opportunity to continually develop my ideas which lead me to create various sizes of forms to create my contemporary ware.   

Janus Stark

Artist and Escapologist Lives and works
in the border town of Port Bou in Cataluña
“The Essence of Freedom” is the final
piece of a lifework entitled Occam’s Razor

What can you bring to the table?

Mary-Clare Lyons

On display are two hundred and twenty-one plastic cups, sixty-six of which are filled with water and acrylic paint, while the remaining one hundred and fifty-five consist of just water. My palette is composed of six colours in total, they being the three primary and three secondary colours. In essence, I physically constructed an image using plastic cups, and by doing so, created an opportunity that allowed me to introduce the concept of colour within my practice in a very simple, yet playful and experimental manner, and consider the crucial role it can play in the construction of an artwork.
This piece, with the use of temporal material, such as the plastic cup, which is synonymous with ephemerality and disposability, promotes the notion of process lead methodologies and provisionality within artistic production. [Provisionality being a tendency within artistic praxis where permanence, durability and finish are being rejected in favour of a more temporary, preliminary and makeshift aesthetic].

Michael O'Brien

I'm not bothered. 

Steve Maher

I Look Down On You Because I Am Falling From A Great Height (2010)

One lone figure leaves his car and climbs a mountain; this journey is the figures ascension. At the breach of this mountain there is a stairway which alludes to an even higher place. The function of the stairway is undeclared but arguably emphasises the impressiveness of a possible descent. Our hierarchal aspirations for power, our ascent which we laud and venerate are finite and destructive. In this way all ascents are descents, what we contemplate on this precipice is…

Margaret Curtin

I am fabricating rough once-off light porcelain tactile slabs, using a raw spontaneity I’m seeking due to brief time lapse between conception and completion of piece. They are drawing from a range of rural shots of home farm, prompting cursory sketches. They are overlapping the tentative
ephemeral hinge between nocturnal darkness and dawn, echoing delicate traces of torn melancholy, faint evidence electing fleeting transi

Caitríona McCarthy

Brief:  Persil fashion awards 2070 

“White with a touch of glamour and a hint of colour for the fashionable Irish woman”.

”My inspiration:  Aubrey Vincent Beardsley, an “extravagantly praised and extravagantly hated man, a an whose eccentricities developed his character and workings in art”.

His variability in his work is coupled with an extraordinary versatility that changes his style and adapts to new ones.