Bóthar Irwin, Galway (Behind TK MAX)
- Desmond Kenny, Hazla. Mixed Media. Size – 18 inches x 6 inches x 6 inches
- Lucy Peters, Making it last series, 2021, Fast fashion garments, plastic netting, metal rail, 188cm x 175cm x 170cm
- Courtney Sharos, Catatonic Mutism, Video loop, Materials – mouth, toothbrush, toothpaste, camera, tripod, menstrual blood
- Beth Fox, Home Series, 3 x 5 min video looped
- Desmond Kenny, Cartouce. Mixed Media. Size 18 inches x 8 inches x 6 inches
- Kevin Judge, Encounter – oil on canvas, 21x25cm, 2020
- Desmond Kenny, Galypso. Mixed Media. Size 12 inches x 9 inches x 6 inches
- Sinead McKillican, Sol Quarters, 150 (h) x 150 x 35 (d) Mixed Media: Flexi-plywood /softwood timber /brass fixings / sanding sealer / primer / enamel, paint / clear varnish)
- Kapalua. Mixed Media. Size 12 inches x 6 inches x 6 inches
- Aoife McLoughlin, ‘Hanging On’, found plastic, found wooden pallet, emulsion paint, 48cmx47cm
Exhibition by Beth Fox, Lucy Peters, Desmond Kenny, Kevin judge, Sinead McKillican, Courtney Sharos and Aoife mcCloughlin. More information to follow.
A series of videos made during lockdown 2020. 3 videos, 5 min long each.
Beth Fox is a video artist and moving image curator. She has recently exhibited work at
Nahmad Projects, London, Angus-Hughes Gallery, London, Exeter Phoenix, Devon, and
Station Independent Project, New York. She was born in Dublin and lives and works in
More information: beth-fox.com
I tell stories through video. The stories are personal essays relayed using voiceover. The visuals are a mixture of scenes I shoot using greenscreen, incorporating drawings and hand-made props, combined with appropriated footage stolen from YouTube. I often use screen recordings of my own browser to illustrate my descent down the Google rabbit hole.
I spend a lot of time thinking about immigration, gender norms, food, social class, memes, post-colonialism, basketball and abstract notions of homeland/belonging.
I also organise film festivals for artists.
Dublin based artist Lucy Peters’ work focuses on human consumption and how we can take wasted material to create artworks.
Having worked in the fashion industry for many years, the artist grew concerned with the volumes of fast-paced, mass produced items of clothing that people consume and dispose of on a regular basis.
In response to this problem, the artist has created a series of soft sculptures that are made with a slow, methodical process using discarded high street garments.
The artists’ explorations of this process will hopefully demonstrate to people how time, patience and consideration can create something of lasting effect.
Sharos’ work has a narrative of struggle and liberation. She predominantly creates performance pieces that are durational, has restrictive qualities and were previously made of
physical installations. Her work is symbolically drawn from mental angst and domestic anxiety. It plays with human and animalistic characteristics along with elements of the dark
and light self-identities. She utilizes masculine and feminine language within her work. The
use of surrounding structured spaces symbolizes the masculine and actions performed from
the body, represent the feminine.
Spaces body ritual/magic mundane pain
Sharos’s practice recently explores comfort rituals to uneasy extremities brought to the eyes
of the public. The commencement of a comfort ritual developed in a bathroom, a place of
where the artist encounters silent solitude.
Recently, she has retrieved back to using her bodily abjections (the state of being cast
off influenced by Julia Kristeva) as a performative material. She is influenced by observing spaces and experimenting with the autonomous zone. Exploring the limitations of her body’s physical capabilities has made a current interest for future directions within her practice.
My working process is based on following the elemental impulse children employ when making art. My art practice for thirty five years was figuratively based and greatly influenced by art history but this mode of working changed while looking at paintings hanging in my studio made by grandnieces and nephews.
They were unburdened by art history, free to indulge in uninhibited mark making and joyously centred in the present. To enter this creative realm I abandoned figuration and began making work with the same materials that are found in pre-school environments. I use pearl clay, glitter, beads, gemstones, coloured thread and wool to make paintings, sculptures, embroidered and crochette works.
I have had residencies in the Prince of Wales Drawing studio ,London and the Draiocht Arts
Centre, Dublin 15. My works are held is in the OPW collection and many county council art collections and this year I was awarded the Peoples Award in Fingals development plan.
Kevin Judge is an artist from Dublin, Ireland. Since graduating from NCAD in 2018 with a BA in Fine Art, he has been making paintings from his studio in Dublin and exhibiting work across Ireland. His work often deals with contemporary issues through traditional figurative painting techniques and primarily concerns self-portraiture whilst creating surreal often humorous scenes.
Sinead McKillican’s work evolves organically through the physical process of reshaping,
restructuring and / or layering both found and new materials; activities driven by Sinead’s
fascination with art, design, and architecture. Exploration, experimentation, and investigations give rise to a lively process of gathering, layering, culling, and distilling materials. Significantly, Sinead’s physical engagement with materials generally leads to the emancipation of simple geometric shapes, transitioning formal 2D shapes into 3-dimensional minimal abstract forms. Transformation methods include the utilisation of folds, pleats and curves; techniques that permit the fashioning of relief works that blur the boundary between paint and sculpture. Sinead’s vision is focused on creating thought-provoking elegant aesthetics that manifest through the fusion of simple forms, neutral colours and a limited materials palette, elements key to tantalising the viewers tactile and visual senses.
Visuals created are free from any literal expression; intended only to serve to induce the viewers curiosity and / or natural desire for contemplation. Outcomes reflect Sinead’s interest in spatial awareness, placement, repositioning, and facility to re-orientate the work. In essence, Sinead’s work is a personal expression, a synthesis of intuition, life experiences and critical analysis; a journey intended to fashion lively objects that stimulate optimism.
Aoife McCloughlin’s work deals with the effects of human behaviours in terms of the abandonment and rejection of objects. The trauma associated with these human feelings is also an element of her work. Her practice revolves around the ephemeral material nature of everyday objects. The work primarily manifests itself in terms of a sculptural three imensionality. She also works I performance, video and photography.
Processes such as the act of walking and discovering discarded found objects is at the core of
McCloughlin’s practice. Taking photographs of found objects in their abandoned contexts is also another process that is involved in the art making. Objects such as hubcaps, cardboard and wooden pallets often make appearances in the artwork. Acts of manipulation such as dissecting the found materials, understanding the narrative as well as the formal qualities of the objects are the ways McCloughlin forges connections with the past of these materials.
McCloughlin’s work attempts to assert an injection of new life and personality into these once
rejected objects. In attempting to reimagine these objects a new appreciation is developed and new trajectories are formed.