Lost - final prints

With many thanks, I received an Agility Award from the Arts Council of Ireland-An Chomhairle Ealaion in the fall of last year for the research and creation of a new series of monoprints Lost. While I began research immediately, the prints didn't start taking shape, ie, I wasn't satisfied with the results, till the beginning of March this year (2023). I have previously posted finished pieces here, here and here and now I will show the final works in the series.

My parents fulfilled their long-cherished dream of returning to Ireland in early June 1983. Since I had grown up with them saying this every year since I could remember (they had emigrated to Toronto in the late 1950s) it was actually a surprise to their children that they actually finally did so. 

Taking a break from packing up their home, monoprint, ink on Japanese mulberry paper, 12.5 cm x 18.5 cm

In the early years, Christmas was an occasion for song, monoprint, ink on Japanese mulberry paper, 18.5 cm x 12.5 cm 

I have many good memories of my best friend's parents who really did treat me like one of their own always making room for me at meals and providing me with a place to sleep when I was homeless. They were also great fun at video film nights, card nights, birthdays and other special occasion celebrations.

 

They were just like second parents but also good friends, ink on mulberry paper, 18.5 cm x 12.5 cm

Although I had lived in several other houses in Toronto in my early years, it was the house on Kingswood, in The Beach area of Toronto, where I spent most of my growing up. The front porch featured in many of the games we played with neighbourhood kids in my childhood. It was also a great place to sit inside on a muggy or stormy summer in the city night and still have a connection to the outdoors.

Young friends described it as a big house, but with twelve occupants, the three bedroom/one bathroom didn’t seem large at all, ink on mulberry paper, 12.5 cm x 18.5 cm

The Toronto skyline has certainly changed a lot since this memory of it from the late 70s/early 80s, before I realised it wasn’t always going to be my city, my home.

Even though the ferry ride took only fifteen minutes, from the islands the city always seemed distant, ink on mulberry paper, 12.5 cm x 18.5 cm

This is the penultimate print from Lost series of contact monoprints and a tribute to my great friend, Jay Dampf, who died far too young, several years ago.

On the long bus journey of the first art school trip to NYC, he brought home-made instruments and led everyone in song, monoprint, ink on Japanese mulberry paper, 12.5 cm x 18.5 cm

I had nearly finished the series when I realised I never posted any in-progress/technique images! So here is the aftermath of making a print for this series. It took many attempts to get this one right (more than any other print) before I was finally happy with the image of mother and child.

She hoped I would smile at the person behind the camera, monoprint, ink on Japanese mulberry paper, 12.5 cm x 18.5 cm, 2023. 

Glasgow 3

It has been over a month since I returned from Glasgow, but I did take a lot of pictures which I am never going to get through it seems! My last day there was spent quite busily checking out shows and galleries from the prestigious Turner Prize Exhibition at The Tramway to a small exhibition of video & sculpture at Celine, an alternative gallery in a private apartment. I wanted to go to the Gallery of Modern Art (GoMA) and managed to fit in a whirlwind look at it before high-tailing it to the Institute of Contemporary Art for a meet-up chat with its dynamic director, Francis McKee.

I had read about the cone on the Wellington statue at the entrance to GoMA -- it has been a beloved eccentricity of the city since the early 1980s to have a traffic cone hat on the figure. Looks like he has a cone in reserve at his feet...

The group exhibition "Devils in the Making" explores the relationship of the gallery collection to Glasgow School of Art. GoMA opened nearly 20 years ago to the criticism that it did not include internationally acclaimed Glaswegian artists and through this show celebrates a situation redressed. All the artists in the show are graduates of GSA.

The three white sculptures, abstract figursea are by Nick Evans and the piece to the left of the white sculptures is by Alex Frost - it is difficult to tell from the picture, but, if my memory serves me, it is a 3D mosaic of a crumpled "Ryvita" wrapper.

I really liked this sculpture by Martin Boyce -- I didn't realise it was neon tubing when I first saw it, just strange ethereal light emanating from the mesh skewed basket. The effect was somewhat unbalancing!

I was immediately attracted to this colourful jumble of half-chairs by Jim Lambie. My husband, James Hayes, was not in Glasgow with me, but this made me especially think of him.

In 1998 James had an exhibition, Tables/Tableaux, at the Basement Gallery in Dundalk. The gallery is divided into two spaces, and one of them contained Family -- an installation of floating, brightly coloured kitchen chairs,  .