Martin McCann at Rathfarnham Castle

I had really wanted to see Wabi Sabi: the Beauty of Insignificance, an exhibition of paintings and prints by Martin McCann, but couldn't seem to fit it in to my schedule, so I was so glad that the exhibition was extended and I made it to Rathfarnham Castle on the very final day! I love seeing the very different ways that artists respond to the castle and how their work is set up in the gallery spaces of The Dining Room, The Saloon and The Pistol Loop Room. I discuss my own exhibition there last year in numerous posts, just search this blog for Memory Is My Homeland for virtual tours and the work as it progressed.

I think the work is fabulous but recognise that my pictures don’t do justice to the layering and textures. The largest paintings were in The Dining Room. 

 It was lovely to meet Martin at the Castle too, as he was on hand to talk about the work and answer questions. 

Infirmary Road, mixed media on cradled wood panel, 100 cm square

Martin set up all his midsize/smaller works in The Saloon, which allowed for more intimate looking.

A Not So Distant Shore, mixed media on cradled wood panel, 40 cm square 

Aerial #4, mixed media on cradled wood panel, 28 cm square

As I had done for my exhibition, Martin used the much smaller Pistol Loop Room to display all his prints. Gelli monoprint collages were the ideal medium to complement the layering and textures in McCann's paintings.

incognito 2022

Annually, for quite awhile now, I've participated in the annual fundraiser for The Jack and Jill Children's Foundation. I first got involved with the fundraisers for this charity in 2013 with The Big Egg Hunt Dublin. I blogged about the creation of my egg here, here, here, here, here, here and here. From the number of weeks it took to do that piece, it's understandable that artists could not make an annual committment, so it is with some relief that "incognito" took over. The premise is simple: the artist turn three cards into any type of art they choose and sign only on the back of the card, the artworks are all photographed and put on display for a uniform price, buyers are not aware of who made which piece until they've bought a piece and turned it over! All funds go directly to the charity and it continues to be able to do its good work. The artists are happy to donate their time and talent, the purchasers are happy to receive a piece of art for their monetary donation, and Jack and Jill is happy at the success of these fundraisers. It is a win-win situation for all involved!

Once again this year was a huge success! All works cost the uniform price of €65 and there were over 3000 works in total. Due to covid, the sale was online both this year and last year. This year the work was sold out in one day! Now that the sale has happened, my three collage cards are winging their ways to their new owners and I can show the work that I submitted. 

Last summer I was purging some shelves, including my magazine collection. However, before I recycled, I went through each magazine to save interesting pictures (colour, texture, etc) for use in future collages. During my residency at Signal Arts Centre last fall I made a number of collage cards for future use and created the small artworks, using the collage method, for my contribution to incognito 2022. I decided to use floral imagery and this is my collage representation of a section of my xmas cactus. I thought the background desert (from a magazine) was appropriate for this subject.

Again from a magazine, the background colour decided that I would make an image of an iris.

I liked the contrasting colours of the cave as a background for this wild rose.

I blogged about previous incognito fundraisers here and here (2021), here (2020), here (2019) and here (2017). I don't know why I didn't blog about 2018 but I did participate!

November selfies (2021)

Happy New Year! Before I start with this year, however, I have to catch up on the last couple of months of 2021! As per the past few years, I had a studio residency at Signal Arts Centre for 10 weeks, in Oct, Nov and Dec. One of my self-appointed daily tasks was to do a warm-up self-portrait sketch everyday that I was in the studio. I blogged about the October selfies here. For other information on the residencies for the past few years, a search on this blog for Signal Arts Centre should turn up loads of information and pictures.

This is a soft pencil sketch.

Limiting myself to a few watercolours and one brush, I can work very quickly blocking in an image. I like to put in some drawing over the watercolour to add some definition. In this sketch I used a watercolour pencil for the line work.

I got into the habit of doing a blind contour drawing on Fridays. For this sketch I used a brown felt tip marker. When else will I ever use BROWN!?

I had my folder full of different paper scraps at the studio and some glue, so I decided one day to do a selfie collage.

Back to a limited water colour use but this time using a fine tip black marker pen to do some line work.

Lots to choose from in my cookie tin of materials, so this day I decided on a soft charcoal pencil.

This entire sketch is drawn with watercolour pencils but mostly I used them as dry colouring pencils. I wetted the tip of a purple one to draw in a few defining lines.

Eamon Colman "Into the Mountain"

 A week ago I trekked (via car) to Thurles in Tipperary to The Source Arts Centre in order to see Eamon Colman's exhibition of recent work, Into the Mountain. The Source is nicely situated in the middle of town next to the river. I don't know how all those clouds made it into the picture, I thought it was a sunny autumn day...

Colman's work references poet/nature writer Nan Shepherd's paean to the mountains of Scotland, The Living Mountain: A Celebration of the Cairngorm Mountains of Scotland. The importance of Shepherd's belief in wandering and understanding the landscape, rather than just reaching a summit, is reflected in Colman's work by his use of colour, line, and the multi layering visible (and hidden too!) in both paper and paint. Colman has his own mountains to explore here in Ireland: he lives rurally and Slieve na Mban is visible from near his home. All of the works make some reference to both his explorations of nature and to his personal explorations. The large collage on the first wall is inviting as well as sublime: Into the Mountain gives an overview of the exhibition and each work thereafter allows the viewer a further chance to explore.

To breathe with birds is the only work that has a wall to itself (the second wall), which commands especial focus. This piece stands out for me through its rich, abstract musicality. As well as the birdsong implied by the title, my imagination takes the black and white oblongs as keys on a piano, and the yellow as a swaying, dancing skirt or bellows. I do not force structural images to be read in this way, but they are welcome to participate in my understanding of the painting. Bellows, of course, are full of breath, so again the title has directed me.

The third and fourth walls had grids of works that seemed to be in conversation with each other and with the several pieces not included in the grid, but on the same wall. (The picture below is from the fourth wall.)

The upper left piece in the picture below (from the third wall), put me pleasantly in mind of one of my favourite works in the Picasso Museum in Antibes, Nicolas de Stael's Le Concert (I've blogged about de Stael previously, here and here). The shape reminded me of a piano, and then, indeed Colman told me a story about finding a piano in the woods... 

This is a view of the same grid from a different direction. Although any photo does not do justice to the original work, as a painter I was drawn to the vibrancy of the colours and the sheer painterliness of the collages! 

The collage form allows for additional layering, whereby juxtapositions of colour become separately defined yet retain their unity with the whole painting. 

Collage allows for a certainty in the creation of a three dimensional space within an abstracted two dimensional work.

Aos Dara/Umha Aois Symposium 2020 Part II

I started writing about the Aos Dara/Umha Aois combined symposium, in which I was a participant, last week. Details of the symposium and my preparations for work can be found in that blog here. As I had the paper prepared with graphite already, I began drawing with my trusty Staedtler eraser, as per my proposal. I was glad to have some green graphite, because after being in Tomnafinnoge wood, I did not want to limit myself to dark, grey works. However, I was  very pleased with this drawing and the subtlety of the green graphite on the tree worked. I did several other drawings on graphite, which I was not happy with, so of course, I am not showing them! (They'll be binned soon enough.)

My original intention, when preparing several sheets of paper with black acrylic, was to paint images in white only. However, as I mentioned last week, the colour of the forest so impressed me that I didn't think such a minimalist approach would work. I really liked that image of the lightning tree and got out my oilsticks to do more justice to the colourful tree.

When I make collages I tend to tear the paper into shape rather than cut. This facilitates a certain amount of unexpected results in the intended shapes as well a beautiful deckled edge, showing off the original colour of the paper (in this case, a creamy white).

Another image that I repeatedly used as inspiration, was that of the small mushrooms which could be seen in networks growing from mossy, fallen tree limbs, and I even spotted a circular Faerie Ring of small mushrooms. While I definitely did not think my graphite, and black & white acrylic drawing experiments with mushrooms actually worked, the jury is still out on the collage.

The acrylic collage that I thought worked best was Saplings. I had experimented with this image several times in other media, with always problematic results, yet I kept on working on it as I really liked the image of trees and ferns that could be seen at one of the forest entrances.

I was guaranteed that one piece would be displayed in the group exhibition, but I chose two to frame as I couldn't decide whether I preferred the sombre Lightning Tree or

the colourful Saplings. I brought both of them to the gallery and said they could choose either. Happily both pieces will be in the group exhibition that launches on Culture Night 2020.

life during lockdown part 4

For the month of August, I have been synopsising what I have been up to during lockdown. I have posted three other "life during lockdown" blogs here, here and here. I will return to more singularly themed blogs in September.

My exhibition, Liminal, opened at Tiny Cat Gallery earlier this week. I have to admit that the virtual launch was more fun than any of my previous "live" exhibitions. The cardboard box gallery is manned by tiny plastic cats and artist designer Lisa Cole, who is the curator of the gallery, creates elaborate and humorous narratives to go along with each of the pictures she posts.

At the beginning of the month, I attended the first of four Zoom workshops on felting. The workshops, held each Friday morning this month, are sponsored by the University of Atypical in Northern Ireland, and facilitated by artist felter, Niki Collier. I have been working in my kitchen, with my laptop perched on the cold stove. This is my set-up for the first workshop.

This month Angel City Review published two of my poems in Issue 9. This literary journal is freely downloadable from their website. Below is one of the poems, which is relevant as I type this on the eve of the fourth anniversary of my Mum's death.

Grief
I felt it in my body
Months before I knew
My mother's fatal diagnosis.
Something was wrong.

The pain grew in my foot.
From heel to ball
It would not move forward
Into the oncoming grief.
Knowing what lay ahead,
Both feet rebelled
And refused to take me there.

After the funeral
The pain in my chest grew -
A series of respiratory malfunctions,
Brochitis, tracheitis, sinusitis,
The common cold.
A plague on my house.
Constant coughing,
Chest tight, heart palpitating -
A permanent heart ache.

This grief is cellular.
Pain moves in and out,
Osmotic, changing density
Till every pore weeps.
The sadness of my body
Cannot recover that
Which is forever lost,
Yet stumbles on.

My feet still hurt.
Often I am numb.
My limp is barely perceptible
To unaware strangers
These days as I
Wheeze forward slowly
One tiny step at a time.

I was pleased to find out, at the beginning of the month, that my proposal for the Aos Dara/Umha Aois combined symposium had been accepted. For this year's symposium, due to lockdown, the organisers required that participating artists spend some time in Tomnafinnoge Wood, an old oak forest, then create work in their own studios. Culture Night in September, will see the launch of an exhibition to include some of this year's work, as well as last year's work, at the Courthouse Arts Centre in Tinahely, which is near Tomnafinnoge Wood.

The day I spent at Tomnafinnoge was perfect! It was a dry, summer day and the woods were greenly gorgeous. I found this tree, which had obviously survived a lightning strike, to be of immense inspiration.

I loved the way the tangle of branches created a net-like canopy - some shade from a very hot sun that day!

One of the main points of my proposal was to create drawings where the paper is covered by graphite and one removes the graphite with an eraser. I have always thought this was a very sculptural way of drawing.

I also prepared some pages with black acrylic as I thought I would draw with white paint on them - kind of opposite to what I planned to do with the graphite as this would be an additive method rather than subtractive.

I also did not want to ignore colour and imagined doing some collages. Normally I create collages with scraps of paper for the purpose of occasion cards, as I blogged about here, here, here and here, but I realised these scraps of paper were not exactly artist quality. To rectify this, I decided to paint, with acrylics, a number of pages with colours that I expected to use in Tomnafinnoge collages. I will dedicate a future blog to some of the results of my work!

collage cards

Before nearly every special occasion (holiday, birthday, anniversary) I get out my materials for making cards and work away. I have previously blogged about collage cards here and here.While I use print and drawing media in cardmaking, I tend to make collages most frequently. I do not cut paper, I carefull rip shapes from it and only use a steel edge ruler for helping to tear straignt edges, such as when I want a coloured background or in landscape images. While liquid glue and an old credit card are good for spreading, a glue stick is the most convenient.

The detritus in the picture above was caused from tearing egg shapes from patterned wrapping paper. I always save scraps of different papers if I can imagine them being repurposed at a later date, and this is a good example of that.

Often cards are related to artwork I am going to make or have already made. This 1988 St Patrick's Day card (made for my "new" boyfriend - now my husband!) refers to a dream I had in the early '80s and subsequent artwork, Ocean of Life. I had also studied the poetry of Wallace Stevens in 1986 and adored the poem Our Stars Come from Ireland, inspiring the imagery of the green stars in churning water.

This postcard from 1988 was also based on a dream: on my first visit to British Columbia; although I didn't see any whales on my ferry trip from Vancouver to Victoria, my mind really wanted to! I remember wanting a durable backing for the card to make it from BC to Toronto, so I made do with a piece of cardboard from a cereal box.

Other cards have also been inspired by travel. This card was inspired by my visit to Sicily in 1997 where I saw some Greek ruins at Segesta.

Quite often I simply make cards from what is in front of me. In this case I simply reproduced the image of my avocado houseplant. I used some patterned green wrapping paper that I had saved in my re-use paper file.

Likewise, this get well card, made for my daughter in 2008. simplified the fish tank in her bedroom.

I am often lazy with images too, simply using egg shapes for Easter (as above), shamrock shapes for St Patrick's Day, and hearts for Valentine's Day...

Often I reuse images in the same year, if I am obsessively working on a project. In 2015-2016 I was hard at work on The Skipping Project (I refer to it here, here, here, and here), a multi-media project that was to be my MA thesis project (for personal reasons the project was never finished). I used the child's feet skipping rope in a number of cards. The rope in this card was made from a collage tape I made (using double-sided tape) from chocolate wrapper foil.

I used the skipping image again for Paddy's Day, though I replaced the shoes with traditional dancing hornpipes and drew the rope in as shamrocks.