Ceramics at Rathfarnham Castle

I was at Rathfarnham Castle a few weeks ago to see the ceramic exhbition, which was being held in the former old kitchens area of this historic house. 

Curated by Mark St John Ellis for nag gallery offsite exhibitons. the work is from the State Collection 

and beautifully placed in the new exhibition areas of the former kitchens.

Each piece had it's own well-lit space from which to examine it in all its glory.

Some pieces were placed in the individual storage areas. Though obviously one could not walk around these works, they seemed to belong where they were placed. The ceramic pieces inhabited their individual cubby holes - they were not simply "shelved".

The apparent roughness of specific pieces worked well in the raw environment of this part of the castle, The ceramics both evoke and echo the nature of a kitchen as a place of warmth, nourishment and activity.

Work in Public Collections!

In 1991, while I still lived in Toronto, I began a series of works which later fell under the collective title My Tower of Strength. I took the title from part of the motto on my family's coat of arms (deliberately leaving out the reference to god). The series of works were based on both secular and ecclesiastical window ruins throughout Ireland and I exhibited the first group of paintings in the first "Me & 9 Others" exhibition in Cedar Ridge Creative Centre in Scarborough, Canada in 1992. When I re-emigrated to Ireland the following year, I had already expanded on the series and brought the paintings with me. I continued with this series and exhibited the paintings and works on paper throughout the country over the next 4-5 years. 

When I dropped off a work recently bought by the Office of Public Works for the State Art Collection, I was asked by the person in the storage area if it was my first piece bought by the OPW. I was able to say "no" as I remember the day in 1996 when I was so excited to get a call from Jacquie Moore (the Art Advisor for the State) asking if a certain painting was still available for purchase. However, at this time I was unable to remember exactly which painting from this series was in the State Collection - no problem! The person in the storage area was able to reference my name and find the piece: The Holly and the Oak, acrylic on canvas, 122 cm x 91.5 cm, 1992. The window here is structurally (it's been a long time since I've used anything resembling BROWN paint!) based on a medieval church ruin on the side of Bray Head (Raheenacluig, ie, the Church of the Little Bell). At the time I remember reading a book about mythology and rebirth, The Oak King and The Holly King, which most certainly influenced my work.

I am not sure exactly when, but at a Canada Day celebration in the late 1990s I met the Canadian director of Microsoft World Products Group, Ireland and found out there was a company art committee, made up of employees, that bought works regularly for the company's collection. She suggested I send information about my work and some slides. I did so and two of my paintings were bought. I know one that was bought is an oilstick figure drawing from my first solo exhibition in Dublin (but I don't have a photo of it!) and the other is from the My Tower of Strength series. Raheenacluig Light, acrylic on canvas, 122 cm x 91.5 cm, 1992.

Several later pieces (dawn as opposed to night colours) from this series sold to a private collector in the US, but in 2005, in a case of being in the right place at the right time I sold a number of works to the Health Services Executive (HSE). I was fortunate to be working there part time as they were moving premises to a purpose-built office in Bray and needed artwork for the Board Room in a hurry. I was happy to oblige by first showing off my website, and then arranging delivery of a number of works from which they could choose after in-person perusal. To my surprise and delight they chose several pieces, among which were yet two more early My Tower of Strength paintings. Apple Light, acrylic on canvas, 122 cm x 91.5 cm, 1992 and

Glendalough Gift, acrylic on canvas, 122 cm x 91.5 cm. The window ruin on which Apple Light is based is from a castle north of Dublin and Glendalough is my favourite monastic ruin in Ireland. It is in Wicklow, less than an hour south of where I live and that window is structurally based on the largest church ruin there.

As a bonus, I also gave the HSE buyers a framed painting on paper, which was originally placed in the Director's office though later moved to the Board Room with the others. I am just not sure which one I gave them - it might have been this one: Window at Kilcoole, acrylic on paper, 76 cm x 56 cm, 1992 or

Leacanabuile Fort, acrylic on paper, 56 cm x 76 cm, 1992. Window at Kilcoole acted as a sketch for a future painting with a raven flying in the window, and Leacanabuile Fort became one of my favourite ruins when I lived near to it in 1993-1996. When I did the large sketch I had been on holidays in Southwest Kerry and didn't realise then that I'd soon be living there!

What especially delighted me about the HSE sale was that they chose my largest and, at the time, more recent piece for their collection. This painting of tulips in the throes of their final glory is one of two custom-built oversize canvas and stretchers that I had made in the early noughties. It was a no-brainer to get these made from a carpenter who offered them fairly cheaply, but unfortunately for me he didn't stay in that business too long. Tulips, acrylic on canvas, 122 cm x 183 cm, 2001.

In 2007 I put in a proposal to create several possible mosaics as part of a % for art callout from the HSE's St John's Community Hospital in Enniscorthy. I definitely learned something from attending the site meeting: the hospital selection committee was looking to expand their collection and wanted to commission several artists to do smaller works, rather than one artist to create a large piece that would take up the entire budget. I complied to this brief by offering plans for a variety of works as single pieces, diptychs or triptychs and a single piece was selected. Gorse, glass mosaic on marine ply, 100 cm x 72 cm, 2008. It was installed before the walls were finished so that it is a fully integrated part of the room in which it is located.

Around 2010, Europol (European Policing Agency) was looking for 2D artworks to hang in its new headquarters to be built in The Hague. It held a Europe-wide open competition in which an artist could propose one work for its new headquarters. I proposed this untitled piece from 1984 (though of course, as is the way I work, it was part of a larger series where the hand gestures act metonymously for the entire body) and was delighted it was accepted. The 54.5 cm x 37 cm mixed media work on paper was couriered over to The Netherlands in 2011 to be installed before the new premises officially opened. 

Earlier this year, in the final days of Memory Is My Homeland at Rathfarnham Castle (for a virtual tour of the exhibition on this blog see here, here and here), I received an email from Jacquie Moore of the OPW. Was a certain piece still available for purchase for the State Collection? Indeed it was! Kingston Road: Waiting, acrylic on pressed cloth, 76 cm x 102 cm, 2021. The image is based on a self-portrait photograph from the mid-1980s, where I was sitting in my east-end Toronto apartment in front of the window. The curtains depicted in the painting were initially a component (painted sheer net curtains) in an installation about "home" that I had created for one of my classes at York University, from where I had received a BFA in 1986. After I graduated I continued to use the curtains - as curtains - in various apartments. When I came across that photo I felt it really related to my current work and decided to paint a painting within a painting. I liked using the pressed cloth as a ground because it is a material that is used for roller blinds, thus has the relation to windows and domesticity that is appropriate for this body of work.

exhibition launch

Last Thursday evening the launch of Memory Is My Homeland took place at Rathfarnham Castle. I had been given the go-ahead to send out invites for a cautious launch as covid restrictions had been lifted only a few weeks beforehand. So it was with some delight that I was able to approach the Castle at dusk.

The  exhibition was officially launched by the Canadian Ambassador, Her Excellency Ms Nancy Smyth (left), with introductory words from Ms Ellen Brickley (right) from the OPW National Historic Properties.

As it has been only a few weeks since covid restrictions have eased, the launch itself was cautious and everyone kept to safety guidelines (social distancing and mask-wearing).

There was a pretty reasonable turnout of guests as people are learning to socialise again! There was wonderful catering (canapés and wine) so of course people could remove masks when eating & drinking, and there was seating scattered in the various rooms so that there were opportunities for people to relax and chat.

I was available to discuss my work with both the Ambassador and Ms Brickley.

Of course, I had some opportunities to greet my friends and guests. This picture encapsulates my main reason for wanting to exhibit at Rathfarnham Castle: the historic walls and gorgeous architecture of the venue!

 

In the Saloon the painting details on the ceiling reflect the period of time in the early 20th century when the castle was owned by the Jesuits.

The Pistol Loop Room provided an intimate space for my linoprints on handmade silk fibre sheets.

There were three false walls, at angles to each other, which provided the surface on which to hang my unique prints.

Back in the large Dining Room, I had a photo opportunity with the Ambassador and my painting, Kingston Road: Waiting.

exhibition install day!

A busy start to the week for me, as my exhibition Memory Is My Homeland  opens to the public on Wednesday (Feb 16). The Canadian Ambassador to Ireland, Her Excellency Ms Nancy Smyth is launching the exhibition on Thursday evening. It will be the first launch that Rathfarnham Castle has had over the past two years (because of covid) and will be a small affair, but celebratory. So on Sunday evening everything was wrapped and packed into the car for an early start the next day.

Rathfarnham Castle is an Elizabethan era fortified home 

surrounded by a pleasant park. Although the skies were grey, I was glad that there was no rain to be seen, especially while we unpacked the car.

The false walls had been freshly painted and most were already dry, so work could begin immediately.

As the walls in the dining room weren't completely dry, we started in the saloon.

I was expecting just one other person to assist my husband and I in the hanging, but a fabulous team of OPW carpenters and electricians arrived to carry out the work.

I simply had to place the work where it was be to be hung and talk to the carpenters about placement height and space between works.  Once the work was hung, the electrician adjusted the lighting to my specifications and the painter touched up any areas that had pencil marks.

Everything was done before lunch! Before we left we checked out one of the exhibition signs that had been hung up on the fence between the castle and the carpark. For further information and pictures related to this body of work, do a search on this blog for Memory Is My Homeland.

All Creatures Great and Small - exhibition at Rathfarnham Castle

I was at Rathfarnham Castle last week for some discussions about my own upcoming exhibition, Memory Is My Homeland, but I also had the opportunity to view the current exhibition, All Creatures Great and Small.

This is a group exhibition, curated by Jacquie Moore (Art Adviser for the OPW), from both the Office of Public Works (OPW) and the Northern Ireland Dept. of Finance collections.

There is a huge variety of work and media within the show. Each piece features an animal or insect though each artist has treated this subject matter in a unique way. For instance, one piece by John Kindness (he has two prints in the show) is a humorous double portrait etching of a rubber duck, suggesting both its outward and inward - skeletal - appearance.

I enjoyed seeing Kindness's other print (etching & aquatint), Big Fish, because it reminds me of visiting Belfast and seeing his huge public sculpture, Salmon of Knowledge (The Big Fish).

I love that the print has the same "feel" as the big sculpture, a colourful, huge, three-dimensional mosaic. While obviously the print is not "huge" there are details of print that it shares with the large sculpture, which are only recognisable on both artworks with close examination.

The Pistol Loop room is an intimate space where each work can be viewed closely on its own or within the group of neighbouring work

There are three false walls in the Pistol Loop room, which nicely converse with each other.

Last but not least, there was one lone surprise print (etching) in the grand Dining Room. Colin Martin's Dog (Motion Capture) beckons to the viewer on entering the room. There is plenty of humour here: I was wondering what on earth the dog could be wearing, then realised (by the title) what it was and indeed this dog - normally in constant motion - has been "captured" in stillness, on the wall, in a moment in time. It stands on the verge of motion.

This show continues until the end of January and there is a free full-colour catalogue accompanying the exhibition.

Orla Whelan at Rathfarnham Castle

 A few weeks ago - before Dublin lockdown! - I went to see the Orla Whelan (no relation, as far as I know) exhibition, A More Immortal Atlas, at Rathfarnham Castle. This is an Elizabethan fortified house, not a "castle" per se, but a wonderful "fortified house" and a great place to show art. I am partial to the exposed brick, creaky floors, and curved walls anyway, but the juxtaposition of contemporary artwork - Whelan's abstract and colourful forms - with an historical background is such a pleasing visual experience. Here A Melancholy Moment (or Magic Carpet) placed near the majestic fireplace in the dining room allows one to dream of roaring fires, comfort, and colourful carpets of olden days...

I have seen several exhibitions at Rathfarnham Castle and admire the sparsity of display, such that the room in which the new artwork is displayed never gets overwhelmed or lost. One always notices the beautiful room itself while looking at the art. Still in the dining room, this is A Powder of Moments.

I like the way the contemporary art seems to slip in to the rooms on false walls and you have to creak along the floorboards to get a closer look. This is known as the saloon or long gallery room; the ceiling paintings are on panels commissioned in the early 20th century by the Jesuits, owners of the house at the time. Previously, in the 18th century the ceiling panels held mythological paintings. 

Whelan had several pieces that used veneer crafting to create patterns similar to her paintings. I thought the repurposing of an old leaf style table worked well in the context of this historical drawing room.

 

The exhibition continues, through the curved doorway, into the smaller Corner Room. Appropriately, the works in this room are smaller and feel cozier. Seven works of the same size are grouped together and given numbers to go with their collective title Moon Valley, Dew, Death. All of these are painted in oil except one, which is delightfully crafted in veneer.

On the opposite wall one lone piece, of the same series and title, begs for contemplation. The abstraction takes shape in my mind and seems to reference the past religious ownership of the building leaving its mark in perpetuity. It bears an uncanny resemblance to modern stained glass windows with a sensation of light and otherness.

Collage Cards 2

I have been trying to process everything from the Grey Box find of last year, and make some sense of all the various items found in it. There were so many miscellaneous sketches and cards - the cards often acting like sketches. Sometimes the card came first - as in this abstract xmas card from 1982 (I think). For a series of individual cards I painstakingly attached tiny strips of gold tape and silver paper ovals (that for me were a development from my stem-less tulip paintings); the colour was added with wax crayon and burnished. I made about 30 of them of them I think, taking care of my xmas card list...

Continuing the theme from the xmas cards, I created small works in the following year on wood blocks that I had readily available (off cuts from various projects). As I gave a number of them away as gifts a few small pieces survive, along with this piece that I kept for myself. I did a couple of larger paintings on sheets of plywood while at university, but these are no longer in existence.

From 1983 (and for several years) I had many watery dreams of figures and dolphins and this imagery made its way into many drawings and paintings. Though undated, I think this oilstick drawing dates from 1983 or 1984 and is probably one of the earliest appearances of the gold tumbling figures in the water.

I had been on holiday in Ireland in 1987, visiting my parents, and became enamoured by watching individual rainclouds in the distance over the sea and images of these clouds made their way into my watery paintings, like this one "Meeting", oil on canvas.

In 1988 I used the image of the gold figure tumbling above the water as a design on a St. Patrick's Day card for my new boyfriend (now my husband). I found stripey paper to use as gold rain and I added the green stars as a reference to a line in William Carlos Williams poem "Our Stars Come from Ireland". 

As well as making an appearance with other elements in numerous paintings and drawings, the rainclouds also appeared in their own right on a birthday card for my Dad in 1989.

The rain became a little more menacing I guess in this postcard from 1989.

I moved to Ireland in 1988 and started work on a completely new body of work as I had left all my dream paintings in Toronto. This new work consisted of a large group of figurative drawings where I covered the paper in graphite and used an eraser to draw. Later works in this series got more colourful as I drew with large oilsticks. This body of work became my first solo show, at Temple Bar Galley & Studios, Dublin in 1989. 

In February 1989 I used the theme in a Valentine postcard sent to my boyfriend in Toronto.

I have always loved the stone walls and stonework ruins found everywhere in Ireland, totally different architecture than I had grown up with in Canada. I was back in Toronto when I sent this Mother's Day card to my Mum in Ireland in 1990.

At the time, although I was back in Canada, I started work on a series of paintings based on windows from ruins which were part of my life in Ireland. I exhibited a number of these paintings in a group show at Cedar Ridge Creative Centre in Scarborough in 1992. I brought the series with me to Ireland when I returned in 1993, completed more in the series and started a tour of the large group under the exhibition title "My Tower of Strength". The exhibition opened at Siamsa Tire arts centre in Tralee, Co. Kerry and its last stop was The Courthouse Arts Centre in Tinahely, Co. Wicklow in 1998 taking in a number of galleries in between. This painting, "The Holly & the Oak", is acrylic on canvas, 122 cm x 91.5 cm (4' x 3'), 1992 is in the collection of the Office of Public Works, Ireland. The window is structurally based on Raheenacluig - the church of the little bell - a ruin on the side of Bray Head, in the town where I live.