Category Archives: 2014

2014

InterPlay

November 10, 2014 admin

Ocusonic, Chasing Waves, 2011 Digitised analog audio visual installation — Ocusonic, Chasing Waves, 2011
Digitised analog audio visual installation

The Joinery

Richard Forrest, Adam Gibney, Ocusonic

November 7 – November 16

The era of the internet has hailed the most significant cultural shift in the twenty first century. The way we interact with technology to mediate our lives is unprecedented. InterPlay explores artists’ relationship with materiality, sound and visuals who work with technology as a genesis or point of origin.

Interplay_Richard forrest — Richard Forrest, Field of Vision, 2014
80 x 80 x 80 cm

Adam Gibney engages with sound and sculpture as a means to investigate semiotics and its relationship with technology. The sculptural work employs a mantra as a meditative tool to remove the viewer from reality; he is interested in this use of language not as a means of communication but to induce transcendental moments through repetition. Richard Forrest’s sculptural work infiltrates the digital world and breaks down imagery to its pixelated form, the result occupying the space between the virtual and the real. Ocusonic’s immersive installation explores the possibilities of creating visual music through the use of digital programming. The exhibition takes the viewer from the real to the virtual, creating a sense of inhabiting the inner workings of the digital world.

Interplay_Adam Gibney — Adam Gibney, Exercise 23: Mantric Formulations, 2013
Sound, sculpture and electronics

Interplay_Adam Gibney2 — Adam Gibney, Exercise 29: Mantric Formulator, 2014
Sound, sculpture and electronics

2014, Curating

Martin Healy, Aether

October 30, 2014 admin

Aether, a new film work by Martin Healy which continues the artist’s exploration of utopian ideology as both material entity and imaginary projection. In this instance, Healy’s work explores the belief in the progressive potential of science and technology that characterised the beginning of the 20^th century and makes reference to Paul Scheerbart’s ‘The Perpetual Motion Machine – The Story of an Invention’ (1910). The diary is a written record of Scheerbart’s quest to build a perpetual motion machine and chronicles the author’s efforts to produce a machine he imagined would offer the world access to free energy and as a consequence have profound implications for society. Aether ruminates on the relationship between scientific truth (our attempts to explain the materiality of the world) and aesthetic form (the structures we build to do so) at a time when both these fields of inquiry existed in an ethereal and momentary unison.

2.MHealy_Aether_OonaghYoungGallery_2014 — Martin Healy, Aether, 2014
HD Film, Installation view

Lone characters often define Healy’s films; in this case an un-named narrator, wandering through a tidal landscape, sets the tone and rhythm of the film work. During his journey, the narrator makes associations between the original search for the aether, the composition of matter and the fundamental drive to understand the natural phenomena that affect human existence. In its analysis of the relationships between the natural world and man-made artefacts, Healy’s film is a pensive meditation on the multiple conflicts and consequences of the human desire to harness the physical world.

3.MHealy_Aether_OonaghYoungInstall — Martin Healy, Aether, 2014
HD Film, Installation view

2014, Curating

Vue

October 12, 2014 admin

RHA Gallery, Dublin

David Beattie , Mark Clare, Colin Crotty, John Dwyer, Barbara Knezevic

The artists invited to participate in Vue reflect current contemporary artistic practices. The use of materials both found and fabricated reflects on the nature of artistic production but also the economics of materials. The subtle nature of David Beattie’s sculptures invokes playfulness and a means to reinterpret how you view the utility of everyday objects. Barbara Knezevic in this series of sculptures continues her exploration into our relationship with materials.

The works use of materials such as marble and salt challenge notions of stability and the tentative nature of art objects. Colin Crotty’s paintings act as a social commentary on societal structure while also referencing art historical landscape painting. John Dwyer’s paintings referencing the Arab Spring or the London riots stem from digital images of current events. Mark Clare’s social commentary provides a platform to question the status quo and formulate future aspirations; his photographic work reflects this notion.

2014

Art for Gaza

July 13, 2014 admin

David Beattie, Mark Clare, Mark Cullen, Mark Garry, Oonagh Gilday, Martin Healy, Caoimhe Kilfeather, Gillian Lawler, Nevin Lehart, Isabel Nolan, Liam O’Callaghan, Niamh Mc Cann, Dennis McNulty, Ciaran Murphy, Gavin Murphy, Alan Phelan, Sonia Shiel, Amy Stephens

Art for Gaza is a benefit exhibition in response to the situation in Gaza. We invited a group of established Irish artists to generously donate a work to the exhibition, the sales of which go directly to the Unicef: Gaza Appeal.

We feel strongly about the situation in Gaza and want to make some effort to support the people and, in particular, the children. This is a humanitarian issue, the images and news that have been coming out of Gaza are deeply disturbing and it is a conflict that seems to have no end.