CORE STUDIES EXHIBITION MAY 20-22 FASHION SHOW MAY 25 GRADUATE EXHIBITIONS JUNE 14–23 NIVAL EXHIBITION JUNE 14–SEPTEMBER 20 CEAD EXHIBITION JULY 4–11
Foreword 002 First Year Core Studies 004 Faculty of Design 008 Craft - Ceramics, Glass, Jewellery & Metals 010 Fashion 026 Industrial Design 036 Textiles 055 Visual Communication 081 Faculty of Education 108 Faculty of Fine Art 122 Fine Print 124 Media 140 Painting 157 Sculpture 179 Faculty of Visual Culture 196 Postgraduate 198 MA Art in the Digital World 200 MA Art in the Contemporary World 207 MFA IN Fine Art 209 MA in Design 230 MA in Design History & Material Culture 235 MA in Visual Arts Education 244 Professional Diploma in Art & Design Education 246 Continuing Education in Art and Design 248 National Irish Visual Arts Library (NIVAL) 274 NCAD Gallery: NIVAL Exhibition 276 Origin8: NCAD Design Innovation 278 Study at NCAD 280 Map of NCAD CAMPUS 282
001
FOREWORD
AN EXPANDING ACADEMY: THE BRIDGE TO THE FUTURE
In this period of unavoidable resetting of social, cultural and economic expectations the National College of Art and Design has been engaged in a process of significant change. The whole education landscape has been under review and creative arts provision in the capital city, in particular. There have also been severe cuts in funding and reductions in staff numbers and it is no longer possible to think or behave as we have before. Of necessity therefore, what we are actually engaged in is, in effect, the creation of a new NCAD. During more than two centuries, since its origins as a private Drawing School, the College has taken several different forms and has engaged in change processes before, sometimes in controversial circumstances. This period calls for an equivalent shift in what we do and how, because the reasons for what we do, in art and design, are changing in the world, anyway. This process of change is dramatised but not explained by the financial crisis and the tsunami which hit all sections of civil society, in Ireland and elsewhere, over the last five years. The only way to stay ahead of that tsunami is to turn crisis into opportunity. Ireland is not alone in being in need of a new economy, one inclusive of social and cultural capital in ways which the old economy was not. We should really think of a ‘new ecology’ where the interdependencies between social/ cultural and economic capital are re-imagined,
FOREWORD
articulated and resourced as a totality. An economic and/or social dimension to creativity is not a new idea or process in art and design. Artists and designers have, for millennia, designed for living and exchanged proof of existence for the means of existence. So this inclusive engagement cannot be thought of – by those inside or outside the field – as somehow diminishing creativity. It is, rather, a way of enhancing and reforming how creativity is communicated and shared, and why it should be so, especially when sustained by public funding. The College is fully engaged in moving to a new degree structure in 2013, having already established an effective academic alliance with UCD. The new structure will develop a momentum to postgraduate learning and a research culture which will also nourish undergraduate learning. For NCAD, research culture is where engagement with ‘real world’ learning can be fully articulated and explored with ‘real world’ partners in civil society. Art and design, as a sector, and NCAD, as a national institution, contributing to civil society, have a significant role to play in creating the graduates who are going to have to invent a new creative society, supported by a creative economy. A new NCAD will be able to meet those challenges by building new ways of working around a central ethos, reconnecting aesthetic and ethical concerns.
This is no more than taking on board what is already happening in a rapidly changing world and the ways in which art and design practice is changing, in response - making it essential for art and design education to pick up the challenge of creating graduates who have the will and the means to change and not simply function in their chosen fields. NCAD is in the process of expanding the idea of the academy, from an inherited model of separation and exclusion to an engaged model of connection, partnership and inclusion – with our neighbours in Thomas Street and Dublin 8, with our peer institutions, nationally and internationally, with other cultural institutions as well as organisations and agencies in social and economic sectors. The future lies in collaboration, connection and partnership and in reciprocal rather than rhetorical relations. Out of this new relational field will emerge the necessary new forms of art and design which we, as a society, will need. This season of exhibitions at NCAD, as represented in this publication, invites you to see that future, in the work of undergraduate, postgraduate and continuing education students, who cover the whole spectrum of possibilities in art, design and education. It is they who are expanding the academy and, as a result, making a bridge to the future.
PROFESSOR DECLAN MCGONAGLE DIRECTOR NATIONAL COLLEGE OF ART AND DESIGN
FOREWORD
002–003
1ST YEAR ART AND DESIGN CORE STUDIES
1st Year Core Studies is where the majority of NCAD students begin their learning journey towards a career in Art and Design. During the course students are introduced to new and exciting ways of thinking and working. This is achieved through a combination of: studio practice; workshop demonstrations; tutorials; lectures and seminars; gallery and museum visits. Lively and positive interaction is promoted and encouraged in a caring and supportive environment. 1st Year Core Studies covers a broad range of Art and Design practice including drawing, 3D work, colour, use of materials and problem solving. All aspects of the programme are informed by an integrated research process. Visual Culture is a fully integrated component of Core Studies. Included here are a sample of images that cover the range of studio work produced during this Academic year.
Theresa McKENNA HEAD OF CORE STUDIES
CORE STUDIES
CORE STUDIES
004–005
CORE STUDIES
CORE STUDIES
006–007
DESIGN: FOREWORD
FOREWORD: DESIGN
At NCAD we encourage our design students to create visions and identities that are both innovative and sustainable; we are not educating mere problem solvers but also, more importantly, opportunity seekers. Our students will follow in the footsteps of our illustrious alumni, becoming the designers, thinkers and entrepreneurs that positively shape the world we inhabit. Design students at NCAD start with concepts and questions - challenging established design precepts and socio-cultural, ethical and technical assumptions. They don’t simply play a role in shaping objects, materials and spaces for today’s customers, but we ensure that our graduates define the very nature of what society needs, wants and desire in the future. The Faculty of Design encompasses Ceramics, Glass, Jewellery and Metalwork, Fashion Design, Textile and Surface Design, Textile Art and Artefacts, Industrial and Product Design, Medical Device Design and Visual Communication. This diverse range of disciplines combines to create a design culture that thrives on new ideas, new ways of doing things and new areas of exploration. We encourage our students to experiment and take risks in order to carve new aesthetic paths and make technical innovations within, and beyond, their design discipline.
Mixing traditional skills with the use of new technologies, Design at NCAD aims to deliver flexible, imaginative education where both the process of learning and the artefacts produced are of high quality. Design and Craft, personal vision and commercial practice, academe and the cultural industries are not seen as opposites, but as parts of a dynamic, mutually informing, holistic process of education and creative endeavour. This year’s graduates have discovered their own creative voices through a process of research, intuition, and above all, hard work. Our degree show captures this process and presents the work of our talented graduates as they begin their professional careers. I’m sure our graduates will continue to grab the headlines, be shortlisted for, and win numerous national and international awards, and exhibit their work at major international events. I’ve been in Dublin and at the National College of Art and Design for a year now: the city and college are special places, and it’s a pleasure to work in such a creative hothouse of talent. Our design students are highly motivated, inquisitive and innovative, and I look forward to seeing them place Irish Design firmly on the global map.
Professor Alex Milton Head of Design
DESIGN: FOREWORD
008–009
TARA BUTLER-FREY tarabutlerfrey@gmail.com tarabutlerfrey.wix.com/tarabutlerfrey 087 901 4059
DESIGN: CRAFT - CERAMICS
PROJECT TITLE Untitled Medium Ceramics Dimensions: approx. one metre high
NIAMH CANAVAN niamh-canavan@hotmail.co.uk 087 326 4861
DESIGN: CRAFT - CERAMICS
PROJECT TITLE Overshadowed Medium Ceramics
010–011
LOUISE LEE louiseleeceramics@gmail.com 087 780 4336
DESIGN: CRAFT - CERAMICS
PROJECT TITLE Hiatus, Australia 1981 Medium Ceramic, Glaze, Metal, Wood, Glass
DAN MADIGAN danny.madigan@gmail.com 086 067 7696
DESIGN: CRAFT - CERAMICS
PROJECT TITLE Untitled Medium Industrial white porcelain tile DIMENSIONS: approx. 30 x 60 cm
012–013
TRACY O’SULLIVAN info@tracyosullivan.com www.tracyosullivan.com 086 887 8169
DESIGN: CRAFT - CERAMICS
PROJECT TITLE Intrusive/Extrusive Medium Porcelain clay, coloured clay and oxides.
KATE LOUISA QUINLAN katelouisaquinlanceramics@gmail.com www.katelouisaquinlan.wix.com / katelouisaquinlan 085 733 7267
DESIGN: CRAFT - CERAMICS
PROJECT TITLE Louisa Medium Wood, Ceramic DIMENSIONS 71 x 40 x 40 cm PHOTO CREDIT Rory Moorhead
014–015
CLAUDIA STEDMOND claudiastedmond@yahoo.ie 087 134 2171
DESIGN: CRAFT - CERAMICS
PROJECT TITLE Intimacy Medium Porcelain Dimensions: 30 x 20 cm
JESSE GÜNTHER jessejgunther@hotmail.com 087 764 6936
DESIGN: CRAFT - GLASS
PROJECT TITLE Biomorphic Hybrids Medium Blown and cold-worked glass mounted on forged steel
016–017
MICHELLE MC DERMOTT michelle@michellemcdermott.ie www.michellemcdermott.ie 087 953 6419
DESIGN: CRAFT - GLASS
PROJECT TITLE Botanics 1 Medium Enamelled and fused glass
MEADHBH MCILGORM meadhbhmc@gmail.com www.meadhbhmc.wix.com/ meadhbhmcilgorm 087 122 7729
DESIGN: CRAFT - GLASS
PROJECT TITLE ‘Intangible Objects’ MEDIUM Kiln-formed Glass DIMENSIONS Variable PHOTO CREDIT Rory Moorhead
018–019
DEIRDRE MCKERNAN deemckernan@gmail.com www.cargocollective.com/ deemckernanjewellery 085 197 8558
DESIGN: CRAFT - JEWELLERY/METALS
PROJECT TITLE Yum yum pigs bum cabbage and potatoes Medium 23 carat Gold plated brass
SADHBH NATHAN sadhbhnathan@msn.com www.facebook.com/ sadhbhnathandesigns 086 080 7038
DESIGN: CRAFT - JEWELLERY/METALS
PROJECT TITLE A Collection of Jewellery inspired by Germination & Pollination Medium Sterling silver
020–021
AOIFE GLEESON aoifekgleeson@gmail.com www.aoifekgleeson.wix.com/ aoifegleeson 086 398 3321
DESIGN: CRAFT - JEWELLERY/METALS
PROJECT TITLE The Devonian Collection Medium Copper
LARA MESANZA BURKE lara.mesanza@hotmail.com www.laramesanza.wix.com/ metalsmith 085 236 9781
DESIGN: CRAFT - JEWELLERY/METALS
PROJECT TITLE Geometrical Clutch Bags Medium Powder coated aluminium, stainless steel screws and dyed leather
022–023
CHIKERE OHOKA studiochyk@yahoo.ie 086 308 3211
DESIGN: CRAFT - JEWELLERY/METALS
PROJECT TITLE Praise Medium CNC milled cibatool, photo etched stainless steel, laser-cut acrylic and LED lights
AMELIA REYNOLDS ameliareynoldsdesign@gmail.com www.cargocollective.com/ ameliareynolds 085 163 1080
DESIGN: CRAFT - JEWELLERY/METALS
PROJECT TITLE ‘Itero Clutch’ Medium Hand-dyed 3-D printed nylon, sterling silver
024–025
JENNIFER BELTON jenniferbelton1@gmail.com www.behance.net/JenniferBelton 086 175 7232
DESIGN: FASHION
PROJECT TITLE Flat-packs: an exercise in flattening, forming and folding Medium Vilene, jersey, coated cotton Photo credit Andrew Nuding
MARY FITZPATRICK mary@maryfitzpatrick.net www.maryfitzpatrick.net 087 967 8695
DESIGN: FASHION
PROJECT TITLE Sheer Presence Medium Skirt: Hand-crafted knit and single georgette fabric; Cape: Cotton organdie Photo credit Andrew Nuding
026–027
LAURA-MAY HEGARTY lauramayhegarty@gmail.com www.lauramayjulia.com 085 106 6231
DESIGN: FASHION
PROJECT TITLE On Wednesdays We Wear Pink Medium Skirt: Coated waxed cotton, corded wool; Arm Straps: Neoprene; Jumper: Hand dyed weaving wool Photo credit Andrew Nuding
OLWYN KELLY olwynkelly@gmail.com www.behance.net/olwynkelly 086 378 0624
DESIGN: FASHION
PROJECT TITLE Occupying the uninhabited: Exploiting the non-space Medium Wool, foam inserts, jersey and bonded sports fabrics Photo credit Andrew Nuding
028–029
LEANNE KEOGH leannekeogh@live.ie www.behance.net/leannekeogh 086 344 6863
DESIGN: FASHION
PROJECT TITLE Proceeding Abstraction Medium Bonded cotton aertex, bonded denim aertex, raw aertex, coated linen, linen, jersey, denim, quilted denim, muslin, jersey Photo credit Andrew Nuding
CLAIRE LYNAM info@clairelynam.com www.clairelynam.com 087 264 3290
DESIGN: FASHION
PROJECT TITLE Coercion Medium Clear PVC & acetate, felt, minx net, polyester crepe, and cotton. Photo credit Andrew Nuding
030–031
AILIS MARA info@ailismara.com www.ailismara.com 087 215 8207
DESIGN: FASHION
PROJECT TITLE “Why, she wouldn’t even harm a fly...” Medium Monochrome; Feminine sheer with laser cut floral fabrics. Photo credit Andrew Nuding
JOCELYN MURRAY BOYNE jocelyn24mb@gmail.com www.behance.net/jocelynmb 086 342 3456
DESIGN: FASHION
PROJECT TITLE Edges in Ether Medium Screen printed raffia in puff binder, coated cotton. Photo credit Andrew Nuding
032–033
SINÉAD ONÓRA KENNEDY sineadyk@hotmail.com www.cargocollective.com/ sineadonorakennedy 086 075 6485
DESIGN: FASHION
PROJECT TITLE The Obese Medium Cotton organdie, silk, neoprene
POLINA YAKOBSON py@polinapoli.com www.polinayakobson.com
DESIGN: FASHION
PROJECT TITLE Ommatidium Medium Hand crafted leather, 3D lenticular lenses, metal eyelets, polyester, chiffon. organza PHOTO CREDIT Jason Healy
034–035
GEMMA BEARDSLEY gemmabeardsley90@hotmail.com
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE Nido DESCRIPTION Nido stores keys, post & little bits. Each person has their own Nido which lights up to show others they are home. It is inspired by the baya weaver bird’s nest.
RÓISÍN BOWDEN roisinbow@gmail.com www.flickr.com/gp/ roisinbowden/h1tv4n/ 086 167 0956
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE Veil to Control Exposure
036–037
BOBBY COMERFORD comerfordbobby@gmail.com www.cargocollective.com/ bobbycomerford
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE The Tofu Controller DESCRIPTION This games controller promotes reciprocal interaction with objects by making digital environments more physical. A user wrestles with the controller as it wiggles and squirms in response to digital events.
EMMET COYNE spanishcoyne@hotmail.com 085 156 25676
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE The design of protesting
038–039
PADDY DENNIS paddydennis114@gmail.com www.paddy.doesid.com
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE Kukan DESCRIPTION A portable room divider that allows the user to create a new space within the office environment.
ELLEN FOGARTY ellen.a.fogarty@gmail.com www.cargocollective.com/ ellenfogarty 087 756 1599
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE Electracet DESCRIPTION An interactive platform for building electronic circuits. The product provides supportive feedback to empower the user to create their own working electronic circuits.
040–041
ETHAN GRANT ethan.ponchi@gmail.com www.ethan.doesid.com
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE Cue DESCRIPTION A platform that combats procrastination. Pocket-sized assistance – be it for staying off facebook, learning guitar, or day-to-day tasks.
NAOMI GRIFFIN-MURTAGH gnominomi@gmail.com www.behance.net/ naomigriffinmurtagh
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE Victusbacter DESCRIPTION A kit that allows you to grow a living object. The object develops in a unique way so as to acquire memories and emotional attachment over time keeping the human-product relationship fresh.
042–043
BORIS KAM boris.ch.kam@gmail.com
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE Sutakku DESCRIPTION ‘Sutakku’ is a modular, stacking stool for young children. It encourages movement and communication through it’s simplistic form whilst allowing children to sit in a variety of different ways.
MATTHEW LYNCH matthewlynchdesigns@gmail.com www.cargocollective.com/ matthewlynchdesigns 086 843 7065
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE E-Tag DESCRIPTION Wristband to replace current hospital identification tag with a digital interface to improve the experience of waiting for patients, also helping doctors treat patients with cloud-based QR code system.
044–045
STEVEN MARTINEZ stemartinez89@gmail.com
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE Accessible sex toys DESCRIPTION Through miniaturisation of form it makes it possible for sex toys to become extensions of the finger.
CONOR MCCARRON c0n0rmccarr0n@hotmail.com
DESIGN: INDUSTRIAL DESIGN
046–047
CIARA MCKEOWN ciara-mk@hotmail.com
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE Educating children on nutrition DESCRIPTION Hydroponic growing container for children.
JONATHAN MITCHELL jonogiant@gmail.com
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE Citadel DESCRIPTION Citadel is a maximum security bicycle security system.
048–049
JACOB MOSSE PROJECT TITLE Sports Equipment DESCRIPTION This is a free standing, self supporting, slackline stand for sport, circus and street performance. It is durable, light, as well as quick and easy to assemble, carry and transport.
DESIGN: INDUSTRIAL DESIGN
STEVEN MURRAY PROJECT TITLE Scor DESCRIPTION Scor is a portable accuracy target that can be attached to multiple fixing positions ie goalpost, cross-bar, lamp-post or tree. Includes a hoop with elongated net and spring mount fastening mechanism.
DESIGN: INDUSTRIAL DESIGN
050–051
KARL RABBITT karlrabbitt@gmail.com
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE Float DESCRIPTION Float gives the user a more direct way to interact with the water they use every day.
MOSES ROWEN hayabusabambino@hotmail.com 087 695 5656
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE Entry level city vehicle
052–053
EOGHAN SHANKEY-SMITH eoghanshankey@gmail.com www.cargocollective.com/ eoghanshankeysmith
DESIGN: INDUSTRIAL DESIGN
PROJECT TITLE ITRAC DESCRIPTION Everyone, Everywhere, Together
JESSICA BERMINGHAM jessicabermingham@hotmail.com www.artsthread.com/p/ j22bermingham/ 086 179 0144
DESIGN: TEXTILES
PROJECT TITLE What is the Frequency? Medium Printed Textiles
054–055
SIOFRA BURKE siofraburke@gmail.com www.behance.net/siofraburke 086 169 8940
DESIGN: TEXTILES
PROJECT TITLE From Small Gatherings Medium Found materials including rusted wiring and steel, brambles, twigs, sticks
GEORGIA ELLEN CONNOLLY gconnolly91@gmail.com www.behance.net/georgiaconnolly 089 477 3923
DESIGN: TEXTILES
PROJECT TITLE Charming Underthings Medium Digitally printed silk satin crepe and silk chiffon
056–057
Jane Flanagan janeheatherflanagan@gmail.com www.behance.net/janeflanagan 086 161 9313
DESIGN: TEXTILES
PROJECT TITLE Geometria Medium Printed Textiles
SARAH FOSTER sarah310191@gmail.com www.sarah310191.wix.com/ sarahfoster 086 121 1240
DESIGN: TEXTILES
PROJECT TITLE State Medium Printed Textiles
058–059
DEIRDRE GAVIN dazure.gavin@gmail.com www.behance.net/dee_gavin 087 674 7328
DESIGN: TEXTILES
PROJECT TITLE Mother Invention Medium Up-cycled Fashion
AOIFE GODWIN aoifegodwin@gmail.com
DESIGN: TEXTILES
PROJECT TITLE Natural World Medium Digitally and screen printed interior fabrics and wallpaper
060–061
ANN GORMAN amgartstudios@gmail.com www.amg-arts.com 087 419 9255
DESIGN: TEXTILES
PROJECT TITLE Ledwidge Medium Embossed and cut paper
SORCHA HARMAN sorchaharman@hotmail.com www.cargocollective.com/ sorchaporcha 085 844 9732
DESIGN: TEXTILES
PROJECT TITLE Fabricating Stories Medium Textile, Embroidery
062–063
FIONA HARRINGTON fiharrington@gmail.com www.fionaharrington.com 087 067 1860
DESIGN: TEXTILES
PROJECT TITLE Boundaries Medium Handmade Irish Lace
PAMELA KELLY pamelakelly7@yahoo.ie www.pamela-kelly.com 085 734 4281
DESIGN: TEXTILES
PROJECT TITLE The Maker and the Mice Medium Embroidered Textiles, Illustration
064–065
RACHEL ANNE KIERNAN rachkiernan@hotmail.com www.rachelannekiernan.wix.com/ rachelannekiernan 085 753 6103
DESIGN: TEXTILES
PROJECT TITLE A Natural Selection
LEANNE MALONE leannemalone@live.ie www.leannemalone.wix.com/ leannemalone 086 179 2498
DESIGN: TEXTILES
PROJECT TITLE The Urban Warrior Medium Textiles, Embroidery
066–067
MELISSA MARTYN melissa@melissamartyn.com www.melissamartyn.com www.behance.net/melissamartyn 087 793 6971
DESIGN: TEXTILES
PROJECT TITLE Deconstructed Tales Medium Textiles, Embroidery
ADAM MATTHEWS adammatthews05@hotmail.com www.behance.net/adamljm 083 427 5664
DESIGN: TEXTILES
PROJECT TITLE Midas Medium Drawing, photoshop, digital & screenprinting
068–069
ASHLEY MCNICHOLAS ashleyjmcnicholas@gmail.com www.behance.net/ ashley-janemcnicholas 087 984 4589
DESIGN: TEXTILES
PROJECT TITLE Oceanographic Medium Printed Textile Design
DAVID O MALLEY davidom461990@hotmail.com www.behance.net/ davidanthonyomalley 085 769 0802 or 01 847 7129
DESIGN: TEXTILES
PROJECT TITLE Tyrant Medium Textiles, Embroidery
070–071
ORLAGH ONEILL oneillorlagh@gmail.com www.cargocollective.com/orlaghoneill www.behance.net/orlaghoneill 086 203 4278
DESIGN: TEXTILES
PROJECT TITLE The Anti-Hero
AISLING O’NEILL aisling-oneill@hotmail.com www.behance.net/aislingoneill 085 139 5722
DESIGN: TEXTILES
PROJECT TITLE What ‘Lies’ Beneath
072–073
SARAH O’SULLIVAN sarah.osullivan.989@gmail.com www.saraho’sullivan.com 086 250 3083
DESIGN: TEXTILES
PROJECT TITLE ‘You Don’t Look Sick’ Medium Textiles, Mixed Media
SIOBHAN RAFTER siobhanrafter@hotmail.com www.siobhanrafter.wix.com/ siobhanrafter 086 053 8856 or 042 974 6232
DESIGN: TEXTILES
PROJECT TITLE Hotel Tropico Medium Printed Textiles
074–075
MARIA SANTOS gelesko@gmail.com 087 956 8945
DESIGN: TEXTILES
PROJECT TITLE An Interpretation of Momo Medium Print and Embroidery Textiles
MELANIE SPENDLOVE melanie.spendlove@gmail.com 087 419 7771 or 01 286 1469
DESIGN: TEXTILES
PROJECT TITLE Contemporary Surface Design - The Plastic Cutlery Collection Medium Experimental Interior Surface: Plastic Spoons, Dimensions variable
076–077
SOPHIE TEYSSIER sophieteyssier@yahoo.co.uk 085 165 9796
DESIGN: TEXTILES
PROJECT TITLE WonderDream Medium Textiles, Embroidery
ELIZABETH V TIERNEY lizt@live.ie www.elizabethvtierney.com
DESIGN: TEXTILES
PROJECT TITLE Compendium Medium Textiles
078–079
RACHEL WHITE i.love.coloured.eggs.@gmail.com www.rw-designs.net 086 208 6455
DESIGN: TEXTILES
PROJECT TITLE Walking on Eggshells Medium Experimental Colour/Material/Finish solutions for exhibition context
DARCIE-JADE BATESON dar_c@live.ie www.thewormsinmybrain.tumblr.com/ tagged/artwork 085 841 1169
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Music by design. An investigation into the field of gig and festival poster design.
080–081
KATE BRADY bradykate5@gmail.com www.katebradydesign.tumblr.com 087 755 7055
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE NCAD Poster
Cian Brennan cian.a.brennan@gmail.com www.cianb.tumblr.com 085 157 1560
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE NCAD branding, printed & digital collateral for the PhotoIreland Festival MEDIUM Publication, motion graphics, video, printed ephemera
082–083
James Brennan jamesw_brennan@hotmail.com 087 677 2882
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE World War Z poster illustration
Eilis Buckley hello@eilisbuckley.com www.eilisbuckley.com 087 915 0591
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Irish Donor Network campaign Medium Print & web
084–085
Oliver Callan olivercallanlpr@hotmail.com www.behance.net/olivercallan 086 126 5570
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE The War of the Worlds Medium Digital illustration/print
Aaron Canning aronkaning@gmail.com www.aaroncanning.tumblr.com 086 167 4496
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Gazel homeware identity
086–087
Aishling Érin Costello aishlingerin@gmail.com www.aishlingcostello.tumblr.com 086 063 2426
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Branding for el Bahia, Moroccan restaurant Medium Commercially/handmade print material, website, photography
Keelin Coyle keelincoyle@gmail.com www.cargocollective.com/ keelincoyle 086 152 0490
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Hands Medium Riso-graphic print
088–089
Rosa Devine rosa@rosadevine.com www.rosadevine.com 087 967 8379
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Board game: Parliament
Caoimhe Doyle caoimhedoyle@yahoo.com www.caoimhedoyle.com 085 135 2986
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Look! No Hands!
090–091
Katherine Foyle ksfoyle@gmail.com www.katherinefoyle.tumblr.com 087 685 6220
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE The Wish List Medium Animation
Andrew Keating andykeats.108@gmail.com www.andrewkeatingdesign.com 086 200 2108
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Memento typeface design Medium Print
092–093
David Lawler david@davidlawler.ie www.davidlawler.ie 085 780 6511
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Visual Communication identity— Cartographic13 Medium Print, web, motion & exhibition design.
Lassara Lynch lassaralynch@hotmail.com www.cartographic13.com 086 368 2367
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Indian village map Cartographic13 poster exhibition
094–095
Rory Martin rorymtin@hotmail.com www.behance.net/rorymtin 086 391 1236
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Breached Festival 2013
Julieanne McMahon julieannemcmahon.design@gmail.com www.cargocollective.com/ julieannemcmahon 087 906 5650
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Digby's Big Adventure
096–097
Philip Moran amophus@yahoo.co.uk 085 736 2937
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE The Tet Offensive Medium Letterpress book
Rebecca Moriarty beckymoriartyisarty@gmail.com www.cargocollective.com/ beckymoriartyisarty 083 351 7554
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE April Fools
098–099
SEAMUS NEESON neesonseamus@gmail.com www.cartographic13.com 085 116 2146 or 01 295 3572
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Theatrical posters Medium Print
Daniel Whitelegge O'Higgins dohiggins@gmail.com www.cargocollective.com/ danielwhitelegge/ 085 207 6630
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Quirks: designer toys Medium 3d printed plastic
100–101
Fiona Ryan Foforyan2@gmail.com www.behance.net/fionaryan 085 228 9499 or 01 627 2774
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Industrial forms of London Medium Photography
Stuart Scargill stuart.scargill@gmail.com www.stuartscargill.com 087 652 7381
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Bodoni Beers
102–103
Emi Suarez emi-srz@hotmail.com 085 738 9767
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Bridge Pack deck of cards
Danielle Tallon danielletallon@campus.ie www.danielletallon.wix.com/portfolio 087 317 4674
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Batiste Dry Shampoo, Graphic identity design and branding
104–105
Katie Williamson katy52843@gmail.com www.talenthouse.com/ somethingtotalkabout 087 670 6047
DESIGN: VISUAL COMMUNICATION
PROJECT TITLE Exposed: A collection of books that visually interpret poetry - William Shakespeare.
DESIGN: VISUAL COMMUNICATION
106–107
EDUCATION: FOREWORD 108–109
FOREWORD: EDUCATION
The NCAD Faculty of Education operates on the principle that art and design teacher education is not centrally concerned with the teaching of art and design, or teaching about art and design but rather is expressly committed to teaching through art and design. The practice of education is itself a creative act. The construction by teacher and learner of an art milieu with artworks and ideas in the school art room can be seen as a collective construction of knowledge. Knowledge of art does not simply end in knowing the artwork: rather it is a tool for understanding the world. The Faculty of Education is currently engaged in ambitious plans with the Schools of Education in UCD and TCD and with Marino Institute of Education towards the establishment of a collaborative Institute, dispersed across all four campuses. This will provide enhanced opportunities and supports for our students, while still retaining our home-base on the NCAD campus. By 2016 we hope to offer some jointly accredited teacher education programmes across all four colleges, drawing on the strengths and resources of each. Even without these external developments, we are going through exciting changes in our own provision. A new four-year Joint Honours BA in Design or Fine Art and Education will be offered for incoming students in Sept 2013.
Our one-year Professional Diploma in Education will be replaced by a two-year programme as from September 2014. A new masters programme, the MA in Socially Engaged Art, will be offered from September 2013, providing a professional qualification for graduates who wish to work in the Further Education sector. Together with the established MA in Visual Arts Education (MAVA) and our burgeoning pool of PhD researchers, the Faculty is well positioned to expand its role as the leading provider of research and teaching in art and design education in the country. Current education policy in Ireland and elsewhere is replete with references to 21st century skills including such important generic capacities as communicating, being creative and working with others. These of course are qualities that have always been the hallmark of teaching and learning in art and design. Our graduating students of 2013 leave college with a finely developed art or design practice and with a professional qualification to teach young people through those practices. While the immediate economic and employment scenarios for new graduates may be challenging, the longer-term prospects for our graduates are truly exciting in the new educational landscape.
PROFESSOR GARY GRANVILLE HEAD OF FACULTY OF EDUCATION
EDUCATION: FOREWORD
108–109
NIAMH AHERNE niamh.aherne@gmail.com 085 156 7490 STUDIO PRACTICE Graphic Design PROJECT TITLE Oscar and the Moon Medium Mixed Media (Drawings/Illustrator/Photoshop) DIMENSIONS 26x26cm
EDUCATION
CLASSROOM PRACTICE PLACEMENTS CBS Westland Row, Dublin 2 Terenure College, Terenure, Dublin 6W St. Andrew's College, Booterstown Avenue, Blackrock, Co Dublin CUS, 89 Lower Leeson Street, Dublin 2 St Mary’s School for Deaf Girls, Dominican Convent, Cabra, Dublin 7
NIAMH CLEARY ncleary@live.ie 087 230 8900 STUDIO PRACTICE Graphic Design PROJECT TITLE Elephants Can’t Jump (detail) Medium Mixed Media (Drawing/Photoshop/Illustrator) DIMENSIONS 18x25.47
EDUCATION
CLASSROOM PRACTICE PLACEMENTS Gorey Community School, Gorey, Co. Wexford St Mary’s Secondary School, New Ross, Co. Wexford Synge St CBS, Synge St, Dublin 8 Rockford Manor Presentation School, Stradbrook road, Blackrock Dublin 8 Loreto Junior School, Crumlin, Dublin 12 Stewarts Hospital Kilcloon Co. Meath St. Mary’s School for Deaf Girls Cabra, Dublin 7
110–111
LEIGH ELLIS leigh.ellis2@gmail.com www.leeoleestudios.blogspot.ie 086 354 8539 STUDIO PRACTICE Ceramics PROJECT TITLE Luna Lunaria The light from within Medium Paper porcelain, fired to 1260째c DIMENSIONS 15x20cm
EDUCATION
CLASSROOM PRACTICE PLACEMENTS St.Marys, Rathmines, Dublin 6 Holy Family, Rathcoole, Co. Dublin Stewarts Hospital, Rossecourt, Co. Dublin Moyle Park College, Clondalkin, Dublin 22 Central Remedial Clinic, Clontarf, Dublin 3
JAMIE HAGAN jamiehagan2012@gmail.com 086 266 6083 STUDIO PRACTICE Painting PROJECT TITLE An Infinite Sequence 2 Medium Acrylic Paint DIMENSIONS 21x24 Inches
EDUCATION
CLASSROOM PRACTICE PLACEMENTS Loreto Secondary School, Balbriggan, Co. Dublin. Balbriggan Community College, Balbriggan, Co.Dublin. St. Mary’s Diocesan School, Drogheda, Co.Louth. Hartstown Community School, Clonsilla, Dublin 15. Marino College, Secondary Level, Fairview, Dublin 3 St. Dominic’s College, Cabra, Dublin 7 Loreto Junior School, Crumlin, Dublin 12 St. Michael’s Special National School, Ballymun, Dublin 11 Stewarts Hospital, The Coachouse, Palmerstown, Dublin 20
112–113
Aideen King aideenking@hotmail.com 086 076 5360 STUDIO PRACTICE Ceramics PROJECT TITLE Pathways Medium Porcelain Paper Clay and Paper Yarn DIMENSIONS 80x90mm
EDUCATION
CLASSROOM PRACTICE PLACEMENTS Colaiste na hInse, Bettystown, Co. Meath Ardee Community School, Ardee, Co. Louth Margaret Aylward Community School, Whitehall, Dublin 9 St Dominic’s College, Cabra, Dublin 7 Marist National School, Crumlin, Dublin 12 St. Michael’s Special National School, Ballymun, Dublin 11 Stewarts Hospital, Kilcloon, Co. Meath
Stephen McCourt stephenmccourt@hotmail.com 087 671 8095 STUDIO PRACTICE Graphic Design PROJECT TITLE The Abomination Formerly Known as Jim Medium Digital Illustration DIMENSIONS 60x90cm
EDUCATION
CLASSROOM PRACTICE PLACEMENTS Mary’s College, Dundalk, Co Louth De La Salle College, Dundalk, Co Louth O’Fiaich College, Dundalk, Co Louth Catholic University School (C.U.S.), Leeson St, Dublin 2 Stewarts School, Rosscourt, Balgaddy, Co Dublin
114–115
Eileen Mooney Eileen-emo@hotmail.com www.eileenmooney.blogspot.ie 087 686 7795 STUDIO PRACTICE Ceramics PROJECT TITLE Breaking Free and Evolving Medium Crank Clay fired to 1170°c with oxides DIMENSIONS 43x22x22, 49x19x19cm
EDUCATION
CLASSROOM PRACTICE PLACEMENTS Central Remedial Clinic, 221 Vernon Ave, Dublin 3 Our Lady’s Secondary School, Co. Monaghan St. Louis Secondary School, Carrickmacross, Co. Monaghan St. Vincent’s Secondary School, Glasnevin, Co. Dublin Stewarts Hospital, Mill Lane, Palmerstone, Dublin 20 St. Joseph’s Mercy Secondary School, Co Meath Mater Dei Primary School, Clonliffe Road, Dublin 3
Sarah Mooney sarahjeanmooney@hotmail.com www.sarahjmooney.blogspot.ie 083 346 9935 STUDIO PRACTICE Painting PROJECT TITLE Reminiscence Medium Acrylic on Canvas DIMENSIONS 76x61cm
EDUCATION
CLASSROOM PRACTICE PLACEMENTS Loreto Balbriggan Secondary School, Balbriggan, Co Dublin St David’s Secondary School, Greystones, Co Wicklow Stewart’s hospital, Palmerstown, Dublin 20 St Brendan’s Community School, Birr St Mary’s Secondary School, Baldoyle, Dublin 13 Pobalscoil Neasáin, Baldoyle, Dublin 13 Enable Ireland, Sandymount, Co Dublin
116–117
CAROLYN MURPHY carolynmarie44@hotmail.com 085 153 5312 STUDIO PRACTICE Painting PROJECT TITLE No. 7 from the series ‘Possession’ Medium Mixed media, acrylic on hardboard DIMENSIONS 29x29cm
EDUCATION
CLASSROOM PRACTICE PLACEMENTS Scoil Assaim Boys National School, Raheny, Dublin 5 Marist National School, Crumlin, Dublin 12 Our Lady’s School, Templeogue, Dublin 6W Old Bawn Community School, Tallaght, Dublin 24 St. Colmcilles Community School, Knocklyon, Dublin 16 Stratford College, Rathgar, Dublin 6 Colaiste Dhulaigh, Coolock, Dublin 17 Stewarts Hospital, Kilcloon, Co. Meath
Shane Murray murrayshane26@gmail.com 085 775 3693 STUDIO PRACTICE Graphic Design PROJECT TITLE Old Firm Medium Print–Adobe Illustrator, Adobe Photoshop DIMENSIONS 297x420mm
EDUCATION
CLASSROOM PRACTICE PLACEMENTS Manor House School, Raheny, Dublin 5 Loreto Balbriggan, Co. Dublin St. Michaels College, Dublin 4 Mercy College, Coolock, Dublin 5 Our Lady of Mercy, Beaumont, Dublin 9 St. Joseph’s School for Deaf Boys, Cabra, Dublin 7
118–119
Lasairfhíona Reynolds lasairfhiona87@gmail.com 085 773 5181 STUDIO PRACTICE Ceramics PROJECT TITLE Displacement 1 (detail) 2013 Medium Crank Clay Fired to 1170°c DIMENSIONS 40x50x10cm
EDUCATION
CLASSROOM PRACTICE PLACEMENTS St Mary’s School for Deaf Girls, Cabra, Dublin 7 Belvedere College S.J. North Great Denmark Street, Dublin 1 Marino Community College, Fairview, Dublin 3 John Scottus Senior School, Donnybrook, Dublin 4
EDUCATION
120–121
FINE ART: FOREWORD 122–122122–122
FOREWORD: FINE ART
Future Tense I am thinking of that uncanny ability that some art works have to know that you were coming – You are the expected guest, whom through hospitable or hostile means, can extend the potential of artwork by your engagement with it. Art can change how we see the world. In this sense it offers a way in which we might see the future. It can do this because it claims a forward position, in exploring how we see, how we perceive, how we feel, how we know and through connecting this to others. Contemporary fine art practices require that artists take more responsibility for developing not only the content of artwork but also the frame by which this might create value and meaning to self and others. This requires a focused ability to research, experiment, reflect, interpret and act upon what is ‘critical‘ in relation to an idea, its form, its audience and the knowledge that this produces. The effort to ‘broker’ this knowledge is an educational dialogue that is concerned with the ability to name and to know that which is ‘in play’ in any situation. Art can create the future potential of a thing, a material or a situation, by developing or hinting at its possibility and power, in a way that does not exhaust that original resource. This is the fundamental ability to see things in relation to other potentials not yet imagined.
Fine Art is building a suite of learning opportunities, with institutional partners and other bodies. These include projects that cross the borders of territory, knowledge, disciplines and resources. This year alone these include participation in European funded programmes in relation to the 5 Nation Contemporary Self Portraits project with our partner the FP2 Centre, Rialto. We participate in European projects in, In Public and in the Cross Border Network in Luxembourg. The Faculty is acting as consultant to the Lyric Theatre in Belfast in the commissioning of public artwork, extending collaboration to the University of Ulster. Through engagements between Fine Art and UCD Science, Fine Art and UCD Law and through building further on relationships with UCD Landscape Architecture, we continue to pilot and advance experiential, inter-disciplinary learning in practice. We have engaged with the Creative Campus project in partnership with South Dublin County Council Arts Office and Tallaght Community Arts, and we continue to develop professionally with Create - The National Development Agency for Collaborative Arts in Social and Community Contexts. The Faculty of Fine Art is renewing its educational offer through a 3 plus 2 model. This develops a momentum towards Masters study underwriting the further professionalism required in meeting the expanded challenges of our time, now and for the future.
Professor Philip Napier Head of Fine Art
FINE ART: FOREWORD
122–123
NICK BOON boonnick@hotmail.com 086 240 0238
FINE ART: FINE PRINT
PROJECT TITLE Empathy COMPLETED 2013 Art Form Etching, 20 x 19 cm, artist’s proof.
Rosaleen Breen breen.rosaleen@gmail.com www.cargocollective.com/ rosaleenbreen 087 756 2616
FINE ART: FINE PRINT
PROJECT TITLE Breakfast. Shite. Dinner. Night. COMPLETED 2013 Art Form Documentation photograph of saws
124–125
Ciara De Keyzer ciaradekeyzer@yahoo.ie 086 155 9888
FINE ART: FINE PRINT
PROJECT TITLE Untitled COMPLETED 2013 Art Form Photography and Drawing Medium Mixed mediaÂ
Sarah Doherty dohertysarah201@gmail.com 086 805 8018
FINE ART: FINE PRINT
PROJECT TITLE Untitled COMPLETED 2012 Art Form Digital Photography 5 x 7 in
126–127
Niamh Forbes niamhforbes@outlook.com www.cargocollective.com/ niamhforbes 083 108 2417
FINE ART: FINE PRINT
PROJECT TITLE Untitled COMPLETED 2013 Art Form Photographic document of studio based experimentation Medium Photographs, paper clips, string
Robert Gavin robgavin@hotmail.com 086 887 3061
FINE ART: FINE PRINT
PROJECT TITLE Frequency COMPLETED 2012 Art Form Hard ground etching and aquatint, 285mm × 375mm, edition of 3
128–129
Josephine Geoghegan josephineanngeoghegan@gmail.com www.cargocollective.com/ josephineann 089 492 5086
FINE ART: FINE PRINT
PROJECT TITLE Untitled COMPLETED 2013 Art Form Print - Plate Lithography
Órla Goodwin orlagoodwin@gmail.com 087 635 3772
FINE ART: FINE PRINT
PROJECT TITLE Found Stage Series COMPLETED 2012 Art Form Digital print 50 x 40 cm
130–131
Holly Ingram vanillamonkee90@gmail.com 085 782 8905
FINE ART: FINE PRINT
PROJECT TITLE Untitled COMPLETED 2013 Medium Pen, ink, coloured pencil, watercolour. Â 42 x 52cm
Aisling Lanigan aislingstronglanigan@hotmail.com www.cargocollective.com/ aislinglanigan 087 903 2115
FINE ART: FINE PRINT
PROJECT TITLE Untitled COMPLETED 2013 Art Form Print Medium Print- etching, hard-ground, aquatint.
132–133
Fiona Meade fiona.meade@yahoo.co.uk 085 163 0263
FINE ART: FINE PRINT
PROJECT TITLE Turquoise, pink or avocado. COMPLETED 2013 Art Form Lambdachrome print Medium 42 x 59.4 cm
Gary Merrin garymerrin@hotmail.com 087 121 4234
FINE ART: FINE PRINT
PROJECT TITLE Untitled COMPLETED 2013 Art Form Installation Medium Cardboard, Emulsion, MDF
134–135
Michelle Cuddy michellecuddy@hotmail.com 087 138 4376
FINE ART: FINE PRINT
PROJECT TITLE Untitled COMPLETED 2013 Art Form Drypoint
Cliona Ni Laoi cliona.ni.laoi@gmail.com www.clionanilaoi.com 086 379 8124
FINE ART: FINE PRINT
PROJECT TITLE Untitled COMPLETED 2013 Art Form Documentation of site-specific installation Room of uncertainty i Medium Hanging venetian blind, TV, projector, DVD player, amp, speakers
136–137
Eileen O’Connor eileenoconnor@campus.ie www.cargocollective.com/ eileenoconnor
FINE ART: FINE PRINT
PROJECT TITLE Through the Rabbit Hole and Pull Tight COMPLETED 2013 Art Form Print Medium Plate Lithography/Silk Screen 55X35cm Edition: 1/5
Aoife Scott aoifescott11@gmail.com 086 075 7625
FINE ART: FINE PRINT
PROJECT TITLE Afraid of Forgetting COMPLETED 2013 Art Form Print Medium Photo and Line Etching
138–139
Gwen Burlington gwen.burlington@gmail.com 086 390 1464
FINE ART: MEDIA
PROJECT TITLE Untitled COMPLETED 2013 Art Form 16mm film installation
Kate Byrne katenibhroin@gmail.com www.cargocollective.com/katiebyrne 086 054 5667
FINE ART: MEDIA
PROJECT TITLE Grazed Knees COMPLETED 2013 Art Form Photograph
140–141
Alan Delmar info@alandelmar.com www.alandelmar.com 085 114 9459
FINE ART: MEDIA
PROJECT TITLE Dismantlement COMPLETED 2013 Art Form Live performance
Michelle Doyle ghostinamichelle@gmail.com www.michelledoyle.net
FINE ART: MEDIA
PROJECT TITLE Radio Is My Bomb COMPLETED 2012/13 Art Form HD video and installation 7.09 mins.
142–143
Rebecca Dunne rebeccaalisondunne@gmail.com 086 196 9873
FINE ART: MEDIA
PROJECT TITLE The End- In Which We Reach A Culmination of Thought COMPLETED 2013 Art Form Sound art, mixed media. Medium Audio track, headphones, text, moving image, personal interaction.
Kevin A. Freeney freeneykev@gmail.com www.cargocollective.com/ kevinafreeney 085 138 9564
FINE ART: MEDIA
PROJECT TITLE The Ghosts of Glass Boxes Dreaming Under Tombstones; the Screen as a Final Resting Place COMPLETED 2013 Art Form Still, video installation Medium Canvas and wood screen, HD video projector, Blu-Ray player, stereo amplifier, two speakers, highdefinition video, colour and sound, bean bags and book.
144–145
Sona Harrison PROJECT TITLE Untitled COMPLETED 2013 Medium Double exposure photography
FINE ART: MEDIA
Karl Mc Clelland karl-mcclelland@hotmail.com 085 702 0288
FINE ART: MEDIA
PROJECT TITLE Untitled COMPLETED 2013 Art Form Photograph
146–147
Eoghan McIntyre eoghanmcintyre1@gmail.com www.cargocollective.com/ eoghanmcintyre 086 369 5767
FINE ART: MEDIA
PROJECT TITLE Collected Anomalies: Documents Found in a Cardboard Box COMPLETED 2012/13 Medium Image Print
Rebecca McNally rebeccamcnally@gmail.com www.cargocollective.com/ bexmcnally 086 353 8177
FINE ART: MEDIA
PROJECT TITLE Annex COMPLETED 2013 Art Form Installation Medium Photography / Video
148–149
Daragh Monaghan monaghandaragh@gmail.com
FINE ART: MEDIA
PROJECT TITLE Sacristy COMPLETED 2013 Medium Mixed Media
Rory Moorhead rorymoorhead@gmail.com 085 813 9988
FINE ART: MEDIA
PROJECT TITLE Childsplay COMPLETED 2013 Art Form Interactive video installation Medium Sound recording, HDV video, Adobe Encore menu system; Artists: Rebecca Moorhead age 5, David Moorhead age 8, Anna Moorhead age 9, Rory Moorhead age 22
150–151
Coilin O’Connell coilinoconnell@hotmail.com 086 735 8832
FINE ART: MEDIA
PROJECT TITLE Untitled COMPLETED 2013 Art Form Custom road sign
Pieter Reid pieter_reid@hotmail.com
FINE ART: MEDIA
PROJECT TITLE The Production of Spaces and Environments COMPLETED 2012/13 Art Form Photograph of work in progress
152–153
Megan Scott mgnscott@gmail.com www.meganscott.ie
FINE ART: MEDIA
PROJECT TITLE Potential COMPLETED 2012/13 Medium Mixed Media
Alan Swaine swainealan@hotmail.com
FINE ART: MEDIA
PROJECT TITLE Is That Art Is It? COMPLETED 2012/13 Medium Mixed Media
154–155
Beth Walsh bethwalsh91@gmail.com www.bethkatewalsh.com 086 666 6448
FINE ART: MEDIA
PROJECT TITLE Untitled COMPLETED 2013 Art Form Video Installation Medium Film
VaivA Baltakyte baltavaiva@gmail.com 086 212 9604
FINE ART: PAINTING
PROJECT TITLE Behind the Closed Door COMPLETED 2012/13 Art Form Image of installation in progress Medium Mixed media
156–157
Philip Bolton philip-bolton@hotmail.co.uk 087 935 2572
FINE ART: PAINTING
PROJECT TITLE Were It Flows COMPLETED 2013 Medium Fabriano Paper. 8ft x 4ft
Ricí Ní Chlérigh rici@eircom.net 089 837 3068
FINE ART: PAINTING
PROJECT TITLE Not Waving COMPLETED 2012/13 Art Form Photograph 20cm x 30cm
158–159
Aoife Convery aoifeconvery@gmail.com www.aoifeconvery.tumblr.com 085 722 9008
FINE ART: PAINTING
PROJECT TITLE Suspended Array COMPLETED 2013 Medium Oil on canvas
Phionna Convey phionnaconvey@gmail.com www.phionnaconvey.com
FINE ART: PAINTING
PROJECT TITLE Untitled COMPLETED 2012/13 Medium Neodymium magnet, stainless steel, balsa, oxide primer and lacquer
160–161
Cara Coyle coylecara@gmail.com www.cargocollective.com/caracoyle 087 263 5145
FINE ART: PAINTING
PROJECT TITLE Untitled COMPLETED 2013 Medium Pigment on Rag Paper
Elizabeth Curran elizabethcurran248@gmail.com
FINE ART: PAINTING
PROJECT TITLE Untitled COMPLETED 2013 Medium Mixed media
162–163
Dan Farrelly danfarrellydf@gmail.com, www.cargocollective.com/danfarrelly 087 777 8731
FINE ART: PAINTING
PROJECT TITLE In Loving Memory of an Upward Trend COMPLETED 2013 Medium Pencil and Acrylic on paper
Muriel Foxton muriel.f@hotmail.com www.cargocollective.com/ murielfoxton 087 064 1074
FINE ART: PAINTING
PROJECT TITLE Back to Front COMPLETED 2012 Art Form Painting Medium Oil on linen. 100cm x 100cm
164–165
Nigel Holohan PROJECT TITLE Gobstopper COMPLETED 2013 Medium Acrylic paint, epoxy resin. 32cm x 32cm depth 4cm
FINE ART: PAINTING
Daniel Jackman deardanieljackman@gmail.com 085 208 4602
FINE ART: PAINTING
PROJECT TITLE Untitled COMPLETED 2013 Medium Mixed media
166–167
Aoife Mullan aoifemullan@mac.com www.aoifemullan.com 086 243 6582
FINE ART: PAINTING
PROJECT TITLE ‘Hard vs. Soft Truths’ COMPLETED 2013 Art Form Sculpture Medium Perspex, plinth, plaster and chiffon.
Shane Murphy shanemurtyart@gmail.com www.cargocollective.com/ shanemurphy 086 842 0074
FINE ART: PAINTING
PROJECT TITLE Untitled COMPLETED 2013 Art Form Mixed media installation, dimensions variable Medium Still and moving image projections, acrylic paint, cotton string, steel wire
168–169
Laura Ni Fhlaibhin lauranifhlaibhin@gmail.com www.lauranifhlaibhin.com 087 767 3474
FINE ART: PAINTING
PROJECT TITLE Live Amongst Geese COMPLETED 2013 Art Form Still from video of collaborative dance performance, St Teresa’s Gardens, Dublin 8.
Jennifer O’Donoghue 086 199 2475
FINE ART: PAINTING
PROJECT TITLE Serica Arcadia - The Silks of Arcadia COMPLETED 2013 Art Form Sculpture Medium Mixed media
170–171
Joann O’Meara joannomeara@gmail.com www.cargocollective.com/ joannomeara 085 167 3205
FINE ART: PAINTING
PROJECT TITLE Rusty Green COMPLETED 2013 Medium Painting, Oil on Board. 40 x 60cm
Joe Scullion joe-scullion@hotmail.com www.cargocollective.com/joescullion 087 653 2978
FINE ART: PAINTING
PROJECT TITLE Untitled COMPLETED 2013 Medium Oil on MDF panel. 30 x 36cm
172–173
Andrew Shannon shannon.andrew@gmail.com www.cargocollective.com/ andrewshannon 086 390 9605
FINE ART: PAINTING
PROJECT TITLE Give and Take to Elevate COMPLETED 2013 Art Form Close up of Installation Medium Scaffolding, Rope, Ratchet Block, Railway Sleepers 16ft x 6ft x 12ftÂ
Kate Sheehy chocolateonion@hotmail.com 085 708 7773
FINE ART: PAINTING
PROJECT TITLE Untitled COMPLETED 2012/13 Medium materials - old electrical waste, cardboard, paint, plants
174–175
Andrew Simpson PROJECT TITLE Not at the Moment COMPLETED 2012/13 Medium Digital cotton
FINE ART: PAINTING
Vici Waterstone viciwaterstone@hotmail.com 085 149 5589
FINE ART: PAINTING
PROJECT TITLE Family Matters COMPLETED 2013 Art Form Painting 40” x 30” - fragment Medium Acrylic and oil - rendered on textured canvas
176–177
Sarah Wildes sarahwildes@hotmail.com 085 722 3755
FINE ART: PAINTING
PROJECT TITLE Untitled COMPLETED 2013 Art Form Still from a video Medium Mirror and easel
Craig Blackwell blackwelljc@gmail.com www.craigblackwell.ie 087 677 9605
FINE ART: SCULPTURE
PROJECT TITLE Porthole COMPLETED 2013 Art Form Still from Film HD Video 15mins Medium Sculptural Installation
178–179
John Conway www.jonkonway.com
FINE ART: SCULPTURE
PROJECT TITLE A punishment exercise completed by the artist (29/4/1994) COMPLETED 2013 Art Form Photographic image
Darragh Coyle darraghdcoyle@gmail.com www.darraghcoyle.com 086 661 0693
FINE ART: SCULPTURE
PROJECT TITLE Enter Aeroplane COMPLETED 2013 Art Form Documentation of transportation of Cessna 182 aeroplane. Medium Plane- 4.8 metres length, 8 metres width, 2 metres overall height. Materials - Steel, Aluminium, Birch plywood, film, sound, fiberglass, conversation.
180–181
Michael Dignam michaeldignam@live.com www.michaeldignam.com 087 913 3545
FINE ART: SCULPTURE
PROJECT TITLE Post-Critical Repetitive Phase - Part 1 COMPLETED 2013 Art Form Installation Medium HD Projection ∞, soundscape, concrete blocks
James Fox foxy.james@hotmail.com www.jamesdfox.blogspot.ie 087 691 7156
FINE ART: SCULPTURE
PROJECT TITLE How Unique is an Experience COMPLETED 2013 Art Form Photographic image of degree show space showing viewer Interaction Medium Light / sound installation using the natural light and structure of the space to frame the work.
182–183
Conor Mary Foy conorfoy@gmail.com www.conormaryfoy.com 086 086 1897
FINE ART: SCULPTURE
Stephane Hanly shmoshanly@hotmail.com 087 940 1782
FINE ART: SCULPTURE
PROJECT TITLE Head Case COMPLETED 2013 Medium Sculpture
184–185
Alan Magee transition81@gmail.com
FINE ART: SCULPTURE
PROJECT TITLE Untitled COMPLETED 2013 Art Form Photographic document Medium Component of sculptural installation & live performance
Kamil Markiewicz postkamil83@gmail.com 086 207 9836
FINE ART: SCULPTURE
PROJECT TITLE Test COMPLETED 2013 Art Form Photographic Still from, DVD, 25 min.
186–187
Roisin McCashin ms.mccashin@gmail.com 087 242 0814 / 01 833 0015
FINE ART: SCULPTURE
PROJECT TITLE Endurance COMPLETED 2013 Art Form Sculpture installation Medium Video work and chewing gum sculptures
Angela McDonagh monksangela@hotmail.com 087 285 1060
FINE ART: SCULPTURE
PROJECT TITLE Roof COMPLETED 2013 Art Form Photograph, detail view from ‘Roof ‘Installation Medium Thread, tracing paper
188–189
Brenda Murphy miss.bmurphy@gmail.com www.brendamurphyartist.tumblr.com 087 759 0904
FINE ART: SCULPTURE
PROJECT TITLE Untitled COMPLETED 2013 Art Form Installation Medium Kinetic sculpture
Eva Richardson McCrea evarichardsonmccrea@gmail.com 087 772 7924
FINE ART: SCULPTURE
PROJECT TITLE Act III, Scene 4 COMPLETED 2013 Art Form HD Video Still from 20min Work
190–191
Geoff Ryan geoffryandesign@gmail.com 085 746 7232
FINE ART: SCULPTURE
PROJECT TITLE Order and Balance COMPLETED 2013 Art Form Installation Medium Mixed media
Sinead Sweeney sineadsweeney318@hotmail.com www.be.net/sinsinsweeney 087 133 8424
FINE ART: SCULPTURE
PROJECT TITLE The space COMPLETED 2013 Art Form Installation Medium Still image from video installation, format dv, approx. 7 mins
192–193
Sean Wright seanwright@seanwright.ie www.seanwright.ie 087 932 2396
FINE ART: SCULPTURE
PROJECT TITLE From the Journal of Archibald Rowan COMPLETED 2013 Art Form Photographic component of installation Medium Mixed media
194–195
VISUAL CULTURE: FOREWORD
FOREWORD: FACULTY OF VISUAL CULTURE
The Faculty of Visual Culture acts as a hub within NCAD, around which research-led teaching and practice revolve. It takes a leading role in the promotion and facilitation of critical dialogue both within the college and beyond. Central to the responsibilities of the Faculty is the generation and support of original scholarship that is understood to have direct relevance to the current challenges and aspirations of a nationally positioned and internationally oriented art and design college. Within the Faculty of Visual Culture students study art and design together. In response to the permeable and increasingly non-existent boundaries that make up the worlds of art and design our curriculum aims to foster inter- and cross-disciplinary thinking. Research approaches range broadly from theoretical to material inquiries and are evidenced through an expectation that students acquire a high standard of both visual and textual literacy during their studies. Critical thinking is the central tenet of the Faculty’s curriculum. Learning is intended not only to situate and refine the practices of each individual student, but to also provide insight into the diversity of approaches undertaken by their peers, future colleagues and exemplars of international practice.
Parallel to the undergraduate curriculum for studio students is the launch of a new degree programme, the BA (Hons) in Visual Culture, in September 2013. This new degree provides a unique opportunity for critical study of the theories and histories of art and design in a creative arts setting. Students will be immersed in the culture of art and design production, with the objective of developing a portfolio of critical/popular writing and virtual/physical curation for employment in the diverse professional sectors that reside around the production and consumption of art and design. Graduating students this year have each submitted a dissertation. In various ways, and using various sources, these submissions interrogate issues at the forefront of contemporary fine art, design, film and cultural studies discourses. Research topics range from explorations of eco-design and sustainability, to convergences between art, design, nature, science and technology, and studies of virtual environments. Taken together these dissertations serve as a written record of the questions being asked and the dynamics driving the emerging generation of NCAD’s artists and designers.
Professor Jessica Hemmings HEAD OF VISUAL CULTURE
VISUAL CULTURE: FOREWORD
196–197
FOREWORD: POSTGRADUATE
This section of the catalogue represents work from across the range of Master’s programmes, both taught and research based, offered by NCAD:
›M A in Design (by research) – a two year programme providing the opportunity for research led design work and critical reflection
›M A Art in the Digital World - a two year studio programme designed to enable working artists to imaginatively utilize a range of digital technologies and practices in their work
›M A in Design History and Material Culture – a one year taught programme addressing the history of design and material culture in Ireland and beyond
›M A Art in the Contemporary World (critical and studio routes) – a one year taught programme to encourage artists and cultural workers to place their work creatively and critically within contemporary art currents and to respond imaginatively to these ›M FA in Fine Art – a two year studio programme to facilitate advanced art practice in painting, sculpture, print and media
›M A in Visual Arts Education – a two year taught programme concerned with the role of visual arts and culture within education As the work here demonstrates our Masters students address a wide range of cultural concerns through their creative and critical practice. Research trajectories are established, creative boundaries pushed, critical challenges encountered, the creative imagination stimulated.
PROFESSOR DES BELL HEAD OF ACADEMIC AFFAIRS & RESEARCH
POSTGRADUATE: FOREWORD
198–199
MITCH CONLON mitchandteach@gmail.com For the past two years I have being producing work that is off-trend, red-rank, ad-hoc and gone off. Recently I have used the tactic of the rolling maul within a performance framework, the work quickly gathers momentum, hands everywhere, messy and usually falling apart at the seams with a certain amount of speedy individual improvisation. The projects sprawl across a large geographical landmass beginning in Sligo and as far over as Longford. I have being trying to intrude with a certain bouldness in situations that I may not be welcome or even wanted in. These have included the Fruit and Veg. aisle of Lidl, the Galway docks car-park, the dole-office, round the front of Supermacs, the Oranmore roundabout and Global World hair salon.
POSTGRADUATE: MA Art in the Digital World
Although the work is dangerously inbred, it deals with a contemporary sense of divilment and wildness. The final presentation is the culmination of an eight month project regarding the Renmore legacy David Joe Barrett. “The ball was in the back of the net in under two minutes, but it was not the Premier side who had gained the early advantage. A long ball over the top left the Salthill defence claiming in vain for offside as left winger Dave Barrett discoed past two defenders before galloping away and drilling a shot past “keeper Noel Holland at his near post.” Galway Advertiser November 3rd, 2008
VANESSA DAWS www.vanessadaws.com Art form Still image, 2013 Media Swimming Photo Credit The Artist 'This was water straight from the mountain that sends your blood surging and crams every capillary with a belt of adrenalin, despatching endorphins to seep into the seats of pleasure in body and brain, so that your soul goes soaring, and never quite settles all day.' Waterlog Roger Deakin, 1999 I have always swum, not competitively, or for particularly long distances; but when passing a body of water, be it pond, fountain, lake, river or sea, I do find it hard not to resist the urge to take a quick swim.
POSTGRADUATE: MA Art in the Digital World
My research investigates where this drive to swim, to immerse oneself in water comes from. Is this urge spiritual, escapism or social? Is it the sheer thrill of the unknown, to feel the water on our skin, the cold on our head, adapt our breathing and to feel we exist? Through the swimmers I meet and our shared experience of water my work explores ways in which we accept as normal our pursuits and chosen rituals, but also how through acclimatisation and adaption we can surprise ourselves and go beyond our expectations. I conduct my art practice from a swimmer’s perspective. My camera is worn on my head as I swim. Swimming has always been integral to my art practice, now the two cannot be separated. I am constantly on the lookout for the ultimate swim spot, and I am continually exploring ways to take the viewer out of the gallery and into the water.
200–201
ANGIE DUIGNAN angieduignan@gmail.com angieduignan.com IMAGE 'Níl aon tinteán mar do thinteán féin', 2013 MEDIUM Interactive mixed media installation using found objects, mechanics and electronics. 14ft x 9ft. Photographic documentation still. PHOTO CREDIT: The Artist Níl aon tinteán mar do thinteán féin My research focuses on memory, memorials and memorabilia with an emphasis on storytelling and the object. This body of work makes reference to females who have gone missing in Ireland without a trace and attempts to put the viewer in their ‘shoes’.
POSTGRADUATE: MA Art in the Digital World
I am interested in what memory an object may hold within itself, for its owner and subsequently as a vehicle to tell a story and engage with an audience. Through the use of movement and interactivity I want the object to take on a life of its own. What was once still comes to life through mechanical means as the viewer interacts with the work. It speaks of vulnerability and loss, loss of innocence, loss of life, loss of a future and loss for the families who are left with questions unanswered. The work attempts to hold memory and highlight unique stories, to acknowledge a real persons existence, a moving memorial. I have used a familiar possession - a pair of shoes - that may resonate globally to acknowledge missing persons everywhere.
RÓISÍN LOUGHREY roisinloughrey@gmail.com www.roisinloughrey.com Image Kingdoms, 2013, video still Film installation - HD video (10min), Sound installation (6min) Digital stills The Artist When space feels thoroughly familiar to us, it has become place. Yi-Fu Tuan 'Kingdoms' is the culmination of two years research about place and our connection to it. My work seeks to uncover the hidden, the imagined, the barely whispered -places that may not have been given space on the map; maps that cannot be found on the atlas; Worlds that reside within our imagination, in our histories or spun from the myths and rumours of a small town.
POSTGRADUATE: MA Art in the Digital World
Working on the cusp of video art and documentary, I try to create a poetic cartography that reveals place through a process of deep mapping. As described by artist Clifford McLucas, deep maps are “unstable, fragile and temporary; politicised, passionate and partisan [...] a conversation and not a statement.” I am interested in the intimate and everyday spaces we inhabit, and seek to explore some of the ways in which this kind of deep cartography can mediate between the real and the imagined, the seen and the unseen, the loved and the abandoned.
202–203
SINEAD MCDONALD hello@sineadmcdonald.com Image ‘Streete’, 2013, Video still Large Scale Video Installation 3.2 HD Video projection. Duration: 12m 47, Screen 2438mm(h) x 4420mm(w) Photo Credit The Artist My research explores narrative form and the concept of the Author in photographic portraiture. The work focuses on where exactly the core readings and coda of understanding lie in these representations. How they are constructed, and by whom? Inherent in this is an investigation of the interplay between the sitter, the artist and the viewer. What is it about our own selves that is invested in a portrait? Is what we see merely a mirror onto which we project a story based on a stock of our memories and experiences? Or, can something of the sitter truly be captured by the lens? In a society that now spends so much time interacting on social media sites, how is this formation of identity disrupted when presented in online spaces?
POSTGRADUATE: MA Art in the Digital World
I have utilised different modes of production and a broad range of techniques and conventions to create a body of work in order to investigate these questions. Each piece focussed on one specific area of authorship or technology in an attempt to break the narrative impetus down into discrete quanta of information. The research attempts to address these representational concerns as a cohesive whole, while seeking to maintain the ontological significance of each part.
GEARÓID O’DEA gearoidodea@gmail.com Image The Suit, 2013, Still image, Concept art for suit MEDIUM Mixed media / Performance, Eva foam, Polyethylene terephthalate plastic, Fiberglass, ARTFORM Secret integrated mechanisms, 6’3ft – 4ft The Suit marks the culmination of a more extensive project I have undertaken to investigate the way in which people process criticism. The Suit is designed to perform in such a way that makes its wearer impervious to criticism, acting as a filter between the wearer and the critic. The function of The Suit, as mediatum encourages the viewer (and possible critic) to examine the role of criticism in his or her life and also question the rationale of the wearer.
POSTGRADUATE: MA Art in the Digital World
With its deliberately elaborate and imposing form The Suit ’s functionality lies in the integrated mechanisms that are utilised as part of a performance piece. In this way the suit knowingly sets up several paradoxes: it appears overtly macho yet it does not behave in a stereotypically macho fashion nor does it utilise its physicality for protection; it aims to protect itself from derision yet draws attention to itself in such a blatant manner that it exposes itself to just that; The Suit functions as a barrier between the wearer and criticism yet ultimately has no realistic or practical function without criticism. These paradoxes situate The Suit in an imagined environment where the viewer is encouraged to suspend their disbelief and instead engage with its possibilities.
204–205
KEVIN RYAN kryan123@hotmail.com www.imageversusreality.com Image ‘Image and Reality’, 2013. Film Still. Stop-motion, After-Effects, Data-moshing. HD format. Duration 45 seconds. PHOTO CREDIT The Artist Acknowledgements Emily Rose Gill Kevin makes work that engages with issues of representation. The fourthwall is the boundary between art and audience. Framebreaking is the movement into and out of an artwork, this action breaks the fourthwall. It is this philosophy of art and representation, which is the focus of his work.
POSTGRADUATE: MA Art in the Digital World
By combining the ancient medium of paint, with more modern media such as animation, film, and glitch art, his work evokes a sense of the sublime. Kevin’s work can be seen as in the lineage of Romanticism. The paintings of Casper David Friedrich and Gerhard Richter, the video work of Vanessa B. Cruz, and the electronic art of Benjamin Gaulon have all influenced his work.
ROISÍN HACKETT http://roisinphackett.wordpress.com/ Roisín Hackett, ‘The Unending Dissolution of the Half Open Door’, 2013 Oil on wallpaper painting Digital print The Artist The Poetic Act. Creation. Production. An activity distinct from itself. The poetic as distinct from the aesthetic, it has potential. The aesthetic is generally seen as the experience of beauty, the sublime, the grotesque, the uncanny or sensual pleasures. The anti-aesthetic is seen as the experience of displeasure or of frustration. The poetic is the human act, the potential of this act, the potential of what thing the act will become. It isn’t the experience of something as such, but the excitement of what might happen, of what potential something might have. It is as the poet Philip Larkin wrote in his poem ‘The Trees’:
‘The Trees are coming into leaf Like something almost being said;’ There is potential energy in the semicolon and in something on the tip of the tongue almost being said. The potential of what might be behind a half open door in a painting. Not the aesthetics of what is visible, but of what might be beyond the visible. ‘The poetic imagination imagines things as they are, but beyond us, turned about’ .To consider the unending dissolution or the constant becoming of poetry and imagery is the aim of my thesis. The outcome of my research will be a text based development of my artistic practice. It will lead me to explore further the poetics of the poem and of the image. Poetics is a dominant concern within my artistic practice.
POSTGRADUATE: MA Art in the CONTEMPORARY World
206–207
RENATA PEKOWSKA pekowskar@ncad.ie IMAGE 'A Script for a Spatial Game of Thought', 2012/2013 ART FORM Photographic document of a light installation MEDIUM Digital Photograph PHOTO CREDIT The Artist
In her new work, Pekowska’s considerations are first of all material ones. She is concerned with the physical qualities of light; its intensity, its movement, its colour and its interaction with other media. She is also interested in the qualities it can have when it exists as a line, whether that `is precise, blurred or obscured. She manipulates these qualities with fluidity and economy of means.’
Light Perspectives Excerpted from an essay by Clare Turley 'The notion of the sublime is (...) one often invoked in the attempt to frame and explain the experience of light based artworks. There is something about the physical impact of the phenomenon of light, which seems to reach beyond our rational and scientific logos. The sense of danger, a key element of the sublime, is engendered in this case by a combination of the darkness and by the abruptness and unpredictability of the charges of light which causes an adrenaline rush of alarm. The shimmering, ghostly, lime green drawings further contribute to a sense of the sublime.
POSTGRADUATE: MA Art in the CONTEMPORARY World
FEARGAL PADRAIG CONWAY padraigconway1@gmail.com Image Sunjammer-NASA's solar sail design,expected to launch on a falcon 9 as early as 2014 Print The Artist From era to era and culture to culture the media used in the execution of artworks have varied. In my work as a printmaker, I engage in traditional methods of making, utilising papers and presses. I have abandoned the use of graphic inks in order to highlight the embossed markings which I transfer to paper. This is also as a means of preserving the integrity of the visual source from which I derive the markings.
POSTGRADUATE: MFA IN FINE ART - FINE PRINT
I embrace the philosophies of Constructivism and Suprematism, Malevich's black square, the "zero form", but also the contemporary language of computer technology. Utilizing the 'Vector' format of animation and design software, I generate animations, laser image outputs, and instructions to drive laser cutters. I seek to transform arcane symbolism derived from ancient structures into contemporary expression.
208–209
JANE GIFFNEY she.lives@hotmail.com Image Digital print of blow up of section of weave: The Artist Lacemaking, specifically Carrickmacross Lace, is in its very nature rooted in a rich history and tradition of its own. It is important to me to utilize such a rich indigenous cultural craft. Use of hair for me, is an abundant source of inspiration when exploring issues specifically related to women's identity and experience. The specific materials and processes I choose to work within can give me energy as much as they can hinder ambitions. My verbal articulation of my practice comes through the activity of working. My vision is always ahead of my ability to express this. I do not find my work to be a self gratifying act. Rather it is a compulsion and a need, a way of living. Intensely ritualistic and repetitive.
POSTGRADUATE: MFA IN FINE ART - FINE PRINT
My strengths and my vulnerabilities are sewn into the fabric of the work. In contrast to the often industrially fabricated and immediately manifested works, for me it is absolutely imperative that the actual process of making is in my hands. Whether it is printmaking, lacemaking, taxidermy or drawing, the process of these ancient skills is a very alluring one and crucial to the development of my work.
NIALL NAESSENS niall.naessens@gmail.com Image ‘A Sudden Gust of Wind and Hail’ 2012. Graphite on Paper 1200 x 1500mm Photo CREDIT the artist The activity of drawing has been central to my work as an artist and has conditioned how I engage with the world. The key process of research at work in my project has been to seek to deconstruct my working procedure as an artist and to re-establish a new working pattern. I set out to draw my way through this process. Several devices and concerns began to emerge – hatching, layering, repeated motifs, geometric grids, ornamentation and overdrawing.
POSTGRADUATE: MFA IN FINE ART - FINE PRINT
In A sudden Gust of Wind and Hail the drawing is laid down using parallel t-square lines as if I were a machine. On completion of this leaves and other wind carried debris were added using stencils cut from light card. Then a random pattern of hail was painted over the drawing. This creates a particular kind of depth and perspective within the work simulating an experience of parallax as the viewer moves past the work. This reminds me of solo instrumentation on top of a rhythm section in jazz music, a counterpoint which shifts the focus of our attention.
210–211
TRACEY ELPHINSTONE traceyelphinstone@yahoo.co.uk Image Untitled, 2013. Film Still. Photo credit The Artist My work, in part biographical, focuses on the body and the ways in which we are influenced as sensate beings by our surroundings. I work through video and performance. In addition, I have always had an interest in feminist theory and the relationship of woman and the world. This project explores the relationship we have with the sphere of the domestic. My work seeks to challenge the routine of daily life and foreground the chaos in which we often choose to live. ‘The most immediately obvious characteristics of life in our culture, are frustration, dissatisfaction, anxiety, greed, possessiveness, jealousy, neuroticism; no more than what psychoanalytic theory shows to be the logical product of patriarchal capitalism’, (Wood. R, Hollywood from Vietnam to Reagan, 1986, p71).
POSTGRADUATE: MFA IN FINE ART - mEDIA
In the work I try to create a certain anxiety; a virtual claustrophobia of the domestic. I explore the limit of domestic ritual which can imprison one in the home. I use and explore the domestic space, constructed via photographic representation, portraying my everyday engagement with domestic activities, but elaborating narratives of compulsion and distraction.
ANNABEL KONIG annabel.delcourtkonig@gmail.com www.annabelkonig.com Image Polytunnel, 2013 Digital photography. Print size 70 x 50 cms. Epson Matt 190gsm paper. Photo Credit the artist
POSTGRADUATE: MFA IN FINE ART - mEDIA
Tunnel Vision Interdisciplinary in nature, my practice employs a range of media. My current project focuses on photography. I have considered how in and around the man-made structure of a poly-tunnel, nature’s firsthand details are gradually revealed. We are now living in a speeded up world. We allow the accepted shortcuts of "looking" to block out using our time to really see. Highlighting how the familiar becomes strange, my images ask the viewer to look with a slower and more deliberated eye at the images made apparent.
212–213
ROBERT TUCKER wunnderkammer@gmail.com Image Richard Lewis and Robert Tucker 'Tá sé mar ata sé…níl sé…Tá sé’, 2013. Performance stills Photo The Artist The Doppelgänger My current line of enquiry explores the phenomenon of the ‘lookalike’. This theme of the ‘double’ began for me during the last year of my undergraduate study. I was struck by the similar appearance of Phil Silvers, the actor who played Sgt Bilko in the 1950s situation comedy and that of the art critic of the 1960’s, Clement Greenberg. These two men operated in very different fields yet on investigation, were found to have shared backgrounds and similar ‘ ways of being’ in the world. When a mutual associate introduced me to Richard Lewis, I discovered we looked uncannily similar much to the amusement of others around us.
POSTGRADUATE: MFA IN FINE ART - mEDIA
In myth and folklore, the ‘double’ is considered a bad omen, particularly as portrayed in Gothic fiction. I decided instead to address the topic with humour. Richard and I have many visual similarities, shaven head, the same brand of spectacles, and are uncannily alike in outlook. But I speak with a London accent and Richard, a Dublin brogue. This moving image work is largely unscripted and almost ‘anecdotal’ in content. There are sometimes uncomfortable moments in our video-captured role-playing, yet the overall effect is good-natured. In my performance, I take my cues from popular cultural events or signifiers from everyday life. I am drawn to issues of male identity, intimacy and our gender specific competiveness. The comedic mise en scène facilitates this process.
GWEN WILKINSON www.gwenwilkinson.com Image Deception II, 2013 Digital Composite, 100 x 100cm, archival print Simulacra and Simulation In this era of digital technology the computer generated image is increasingly prevalent in all our lives. It becomes more challenging to distinguish what is real and natural from that which is artificial. This is the concern I have determined to explore in my work.
POSTGRADUATE: MFA IN FINE ART - mEDIA
The images resulting from this enquiry attempt to give visual expression to the points of intersection between dreams and reality, nature and artifice, metamorphosis and decay. Existing as a series of large scale digital composites, scenes are composed of a mixture of natural and manufactured objects. Close examination of the images reveals certain flaws, discrepancies of scale and other improbabilities. Doubt is cast on the reality or existence of the scenes. The intention of the work is to challenge the viewer’s perception of what is real and what is fictional in the digitally mediated world we occupy today.
214–215
RICHARD CARR richardcarr@safe-mail.net www.richardcarr.ie Project Title A Listening Speech Image HomeBird, 2013 Installation Shot, Continuous Loop. Photo The Artist Installation(s): Audio-Spotlight Systems, Sound, Timber, Wooden Frame, String I explore sound making and listening, not as a physiological fact but as an act of engaging with oneself, others and the world. For me, the practical, theoretical and the conceptual are inseparable. However I believe western thought is based on a half logic; a logo and visio-centric culture that privileges notions of the expressive. By beginning with listening I aim to excavate the noisy non-sense that has so long been silenced by the dialectics of the eye and excluded from the white cube.
POSTGRADUATE: MFA IN FINE ART - PAINTING
I engage in sound-making and listening as a generative and motile process, one that engages with the sonic as a physical and tangible thing while also deeply rooted in the world of experience. My work is attentive to the history of listening. It focuses on notions of the sonic, rejecting a dichotomy between abstraction and figuration while facilitating a more complex space functioning within you at the nexus of selfhood, performance & objecthood. Thanks to Holosonics Research Labs in the US for providing equipment for this project.
PAOLA CATIZONE www.paolacatizone.com paolacatizone@gmail.com Image ‘Experiments in Drawing’, 2013, Video Still Video and Drawing Installation: Drawing; Markers on Fabriano paper, performative gestural drawing displayed on gallery floor. 2.8mx5m. Video 2 HD Videos, Duration: 10minutes, looped, illustrating the drawing process, displayed in monitors placed on each end of the drawing. Installation exhibited at Stranger Stranger exhibition at The Complex, Dublin, May 2013. Photo cREDIT The Artist Drawing is not a window on the world but a device for understanding our place in the universe (Emma Dexter) I became interested in drawing during my BA, when I started producing a series of large drawings in open spaces. Scale added a physical element to my work linking naturally to my background in movement and dance. It also gave an immersive feel to the process of making – a sense of being within the drawing rather than visually controlling the perspective field from the outside. The work gradually became more embodied, and I began to use choreographic parameters to give structure to long sessions of drawing. POSTGRADUATE: MFA IN FINE ART - PAINTING
A performative element developed, with the process as much part of the work as the finished pieces. Interaction and collaboration with dancers, choreographers and musicians followed, and a collaborative ethos began to emerge. A number of students and dance professionals volunteered to work with me in the Student Gallery in NCAD in March of 2013. The work was documented in film and, together with the drawings made, used for an exhibition in Pallas Projects in May of 2013. The ephemerality and directness of ‘performative drawing’ responds to current values of chronic socio/economic uncertainty and of media filtered ‘truth’. In drawing, direct experience and impermanence are proposed to the viewer, who becomes witness to the live emergence of lines. This is contrary to tradition where drawing and painting have taken place in isolation, in the privacy of the studio. Through immediate gestures marks and tracings are conveyed without effects or technical artifice in a quest for a truthfulness of mark making and celebration of presence. Embodied drawing has its roots in the practice of a line of artists like Robert Morris, Morgan O’Hara, Trisha Brown and Matthew Barney. My practice has naturally fallen within this tradition.
216–217
NATASHA CONWAY natasha250384@yahoo.co.uk Image Studio view, 2013 Photo CREDIT The Artist My paintings are small scale in oil on linen or wood panel. From time to time they have collaged elements. I work intuitively without a preconceived plan. My main aim is to surprise myself with what appears, to find that which I could not have planned for. The work nonetheless has parameters. It is informed by a set of long term interests, an internal compass and a restless way of working. My interest is in the language of abstraction, its history and its current evolution, its pictorial devices - poetic rather than narrative. Abstraction for me is an indirect form of ‘shorthand’ for the experience of being in the world. The poetic capacity of painting is for me one of its greatest strengths. I am interested in the role of the handmade in its everyday context and beyond and it’s suggestion of meaning, however fragile.
POSTGRADUATE: MFA IN FINE ART - PAINTING
The idea of painting communicating sensation as opposed to being illustrative is important to me. That is to say, a view of painting as a structure of visual stimuli with a capacity to establish tension, atmosphere and specifics without revealing fixed points of reference. This often involves asking the question of how to make a picture anew each time; how one might assemble a narrative with the language of abstraction, a place where definitions are suspended. The intelligence in the human hand, the nature of the painting process, it’s physicality, it’s refusal to be pinned down or reduced to a theory, its slowness in our digital speed of information age are all important to me. I think of the paintings as physical and emotional entities that evolve out of a sustained belief, impulsive action, deep reflection, romantic whimsy, days spent looking, doubt, risk, discomfort and revelation.
Brendan Flaherty flahuerty@gmail.com Image Brendan Flaherty, The Mountain, oil on canvas, 165 x 144 cm, 2013.
POSTGRADUATE: MFA IN FINE ART - PAINTING
My work of late has been about considering the inherent possibilities in figurative painting, and consists of paintings in oil on canvas. Through the use of motifs drawn from art history coupled with personal references, I have sought to create narratives that question what it is I paint. I have been interested in the point at which the gestural application of paint engages with the imagery I use, or with the space between the painting and the image.
218–219
MARILYN GAFFNEY gaffney.marilyn@gmail.com www.marilyngaffney.blogspot.ie Image Mind Map, 2013, Mixed Media Collage Project Title Memories Photo credit The Artist I am interested in our relationship to landscape and how particular places hold memories and can invoke emotional responses. A snapshot memory of a place may be recreated through automatic responses, with worked material providing a form of remembering. This relationship of memory, landscape and art work can trigger an emotional response on the part of the viewer in the space between representation and sentiment. The notion of urban memory and the loss of certain material coordinates within a place when it has been changed, features as a research theme within my work. Working intuitively, I seek to re-create in my work places previously visited through my memory.
POSTGRADUATE: MFA IN FINE ART - PAINTING
My work primarily involves the process of collage and the use of various printing techniques using inkjet printers, photocopiers and scanners. Manipulation of the image by printing process with zooming, the serendipity of ink running out and other printer ‘mistakes’, inflects the work with the textures of a language close to painting. I am interested in the combination of representation, chance and abstraction in painting. The nonrepresentational is met through the ‘mistake’ marks made in the printing process, while the representational is created by a building up of textures and tones. I then introduced a spatial dimension by creating a number of sculptural pieces employing the manipulation of paper. Stitching paper together creates forms that suggest the embodiment of a person within the landscape as the overall piece creates a presence within the space. A wider range of possibilities of meaning appear as a result of introducing this three-dimensional aspect into the work.
SANDRA HICKEY sandrahickey@hotmail.com Image ‘Human suit, 2013. Painting, oil on board. Dimensions 4 x 5 ft. Photo CREDIT The Artist I am interested in how the human mind works, the unconscious mind in particular. I wish to explore how repressed emotions can be triggered by the visual and how repressed desires can fester into fetishes. I’m trying to depict the unconscious mind.
POSTGRADUATE: MFA IN FINE ART - PAINTING
In my work I have distorted the human body to a point of unfamiliar recognition. The arms, legs and head are in the traditional places but there is something foreign or alien about this figure. I want to create a sense of unease in the viewer. It is important to me that the subject matter appears to be neither male nor female – it is somewhere or something in between, suspended in a space unfamiliar to our perception of reality, a mutated form of a human symbolising the twisted nature of our unconscious. The figures have neither faces nor eyes thereby allowing the audience to voyeuristically consume without being seen.
220–221
EILEEN KENNY eileen_kenny@hotmail.com www.eileenkennyart.blogspot.com Image ‘When Recycling Goes Wrong’, 2013, Installation Project Art form and media Installation consisting of 4 freestanding pallets and one large wall piece made from paper extending out onto the floor area. Materials used include wood pallets, paper, photography, painting, plastic statues, staples and plastic bags. Photo CREDIT The Artist My work is concerned with exploring the phenomenon of compulsive hoarding. I do so through appropriation of a range of imagery originated by someone else’s hand. I try to mirror the hoarder’s excessive acquisition and inability to discard huge amounts of objects by collecting and also making numerous original images. I create detailed copies of imagery and arrange them together. The completed collage is then obliterated by dripping and splashing paint to mirror the level of dirt which collects naturally on the excessive
POSTGRADUATE: MFA IN FINE ART - PAINTING
collections of hoarders. All items which hold the images and paint splashes were found in skips and these are then arranged into an installation arranged to mirror the experience of walking through the home of a compulsive hoarder. Various types of plastic bags have also been incorporated into the installation as these are also common items which everyone tends to save or perhaps ‘hoard’. I am particularly interested in the human behaviours involved in our need to continuously re-engage the past by consciously or subconsciously reconfiguring certain preferred elements of a particular culture or period of time. I specifically include the original found images that I have made my own paintings and drawings of, to play a game by quite literally showing how appropriation recontextualises whatever it borrows to create a new work, a new hoard.
SEAN MOLLOY seanmolloy@hotmail.com Image ‘Light of the World’, 2013 Photo cREDIT The Artist The key concern of my current painting practice is the development of a series of quasi-allegorical paintings. 'The first stage of my project involves the appropriation of visual imagery and styles from the baroque, rococo, neo-classical and the early 20th century figurative painting canon and also a compendium of images sourced from photographic archives, notably those of August Sander and Bernd and Hilla Becher. The large-scale format and composition of these works is an indirect reference to the history painting genre with its heavily emphasised grandiloquent narrative structure and gestures.
Each of these three graphic elements belongs to a particular visual language (analogue television, photography/print and computer-based graphics). Their key functions, like the brushstroke, is to play a constituent role in the creation of the illusion of form. The over-painting of the two-dimensional graphic on top of the painterly illusion is an attempt at creating visual intervention that serve to subvert the often didactical reading that traditional figurative painting presents to the viewer. The textures of the new media leave their traces on the old, creating a palimpsest-like effect; one that symbolizes both the chronology of the development of image-making and the seductive quality of painterly form.
The secondary stage involves the introduction of optical devices into the picture plane in the form of compressed parallel lines, Ben-day dots or pixel-like patterning.
POSTGRADUATE: MFA IN FINE ART - PAINTING
222–223
EVELEEN MURPHY www.eveleenmurphy.com Image ‘Reoccurring nightmare 1990’, 2013, Acrylic on board. Photo CREDIT The Artist
POSTGRADUATE: MFA IN FINE ART - PAINTING
I make abstract paintings. For me it is all about process or the physical act of painting. I work intuitively and with a sense of urgency. Improvisation is important to me and I’m not conscious of the outcome of my work and need to be continually surprised. It is this surprise that creates momentum and in turn informs my decision making process. With my current efforts I’ve opened up these spaces to a new dialogue. By working more hastily and unconcerned with previous marking, I attempt to bring an immediacy that is honest and brutal. My interest lies in the ability to balance visual opposites, from the garish, tacky, and glittery to chalky abstractions. My work could be deemed awkward and unseemly, scattered with undefined inconsistencies and outcomes that appear inconclusive and yet, to me, satisfying.
GEORGE WARREN georgealdo@hotmail.com Image ‘Head’, 2012, 22 x 23.5 inches, mixed media on board Rather than living my art as a painter, I have a very real sense of my art living me. It is by giving the painting full licence to be whatever it needs to be, to go where it wants to go, that I can glimpse something of my own psychological make-up and complexities. The results have been both alarming and astonishing. They have also been therapeutic.
POSTGRADUATE: MFA IN FINE ART - PAINTING
The most remarkable direction I have been given about painting has been to “embrace your ugliness”. I did not understand what this meant at the time but the strangeness of the remark stuck with me. Nearing the end of the MA course I believe I now know what was intended by this odd piece of advice… It means this: to take complete ownership of ourselves and not to be selective or judgemental. Painting that speaks of who we think we are, or who we would like to be, or who we imagine ourselves to be, ultimately is of a much lesser interest than that which exposes one’s perceived flaws, frustrations, and follies, one’s darkest dreams, repressed memories and irrationalities. Putting one’s moments of madness on an equal footing with all other parts of one’s preferred make-up, is to provide a platform for a strategy of artistic freedom and potential fulfilment that would otherwise have been stifled and stemmed.
224–225
AMANTINE DAHAN amantined@gmail.com Image Video still from video installation, 2013, 5mins ‘In the wake of the collapse of the various communisms and socialisms what would be retained is the exigency to say 'We’ to ourselves when neither a god nor a leader can say it for us.' - Simon Critchley My work is a multi-media based art practice, involving research through photography, recordings, and text. I link the rhetoric of poetry with philosophy, sourcing its origins in 'Expanded Cinema’. Film is seen as a malleable object, anticipating the space of the screen; I propose a sculptural expanded installation with the aim of puncturing or tearing romantic pre-conceptions of the cinematic experience.
POSTGRADUATE: MFA IN FINE ART - sculpture
The domestic realm as primary focus of my practice has allowed me to work with women and teenagers and facilitated socially engaged work. One comes to oneself in relation to the world, as one's sense of self is the element in which I, you, we, take place. Emmanuel Levinas poses the relation between myself and other as alterity and otherness, exposing the pathos of an essential incommunicability.I am interested in the overlap of these two apparently opposite strands of thought and how they correlate and make one history.
CHRISTINE LANNEY christine_lanney@hotmail.com Image: (Pile Up), 2012. Video still. Photo CREDIT: The Artist 'The Fall' is better suited to comedy than tragedy. For Baudelaire, the laughter that follows seeing someone slip on a banana skin is a complex laughter both comic and tragic. It is both the pleasure that is never far from someone else's misfortune and the pain of humanity's collective fall from grace. The fall is an everyday occurrence, repeated like an expressionless habit of everyday life; get up, get dressed, fall over, get up etc. etc.
POSTGRADUATE: MFA IN FINE ART - sculpture
My work is concerned with trying to find a balance within my own condition. I seek this through exploring notions of time, gravity, balance and the limits of the body. I place myself in situations where my interior and exterior sense of self is in conflict, or at least partially out of balance. My falls, more determined than accidental, make themselves available as symbols ranging from subjective failure and dissolution to that of a theological order. 'Try again. Fail again. Fail better'. (Beckett, S)
226–227
SOFIE LOSCHER sofieloscher@gmail.com Image Untitled, 2013 materials Lights, Glass Photo CREDIT The Artist
POSTGRADUATE: MFA IN FINE ART - sculpture
In my work I seek to create contexts where objects can enter a transitional state – simultaneously existing on both sides of a threshold. During the act of viewing, a tension exists between the perceived object and its empirical reality. I use the glass to replicate light from one bulb to another creating a double reality that contrasts perception and actuality. This structure amplifies the viewer's awareness that their perception is being manipulated.
HANNAH MOORE marihannahmoore@gmail.com Image NGS2289 Heavenly Body Nebula, 2013 Sculptural Installation Media employed: plaster gauze, oil paint, fiber optic lights, cotton batting, spray paint, fabric, tent poles Photo The Artist
All residue of entropy is erased and the body is sublimated. The sculptural installation, NGC 2289, Heavenly Body Nebula explores the theological and aesthetic composition of the spiritual, or heavenly, body. This sculpture juxtaposes spiritual and figurative representation with the principles and imagery of astronomy.
NGC2289, Heavenly Body Nebula My sculptural practice re-asserts the essential nature of the body as a medium to engage in a dialogue on spiritual matters. Christian theology concerning the body balances the inevitability of death with the promise of transformation: “Our earthly bodies are planted in the ground when we die, but they will be raised to live forever... They are buried as natural bodies, but they will be raised as spiritual bodies... We will not all die, but we will all be transformed!”. This metamorphosis achieves a new composition, a transformation of body into spirit.
POSTGRADUATE: MFA IN FINE ART - sculpture
My work questions the ideology of memento mori, a reminder of the inevitability of death. Heavenly Body Nebula contemplates an alternative perspective on this Latin axiom and proposes a theme of memento vivere, remember you will live. Memento mori characteristically asks the viewer to live their days in a more meaningful way. However, provocation to “remember you will live” questions how one prepares to live this life in anticipation of the next life.
228–229
AISLIING CLANCY projecthomegrown@gmail.com IMAGE Project Homegrown 2013, Documentary, digital film 'From the field to a finished garment, made in Ireland' Project Homegrown explores the following basic question - does local sourcing and production in the fashion and textile industries allow the opportunity to work in a more responsible way in relation to economic, social and environmental sustainability? In Ireland at present there are approximately three million sheep. Despite these large numbers there is currently no wool or fabric being produced on a commercial level in Ireland from this source. Since 2001 alpacas have been bred in Ireland specifically for their fleece and yet there are at present no Irish spinning mills producing alpaca yarn. Both of these sources of raw material offered the opportunity to be creative with local resources, building on Irelands’ existing heritage with wool and woven fabrics/tweeds.
My project sought to establish a supply chain in Ireland from the field to the finished garment. Through this it was possible to gain insight into what it is currently possible to source and produce. I also gained an understanding of the realities, benefits, difficulties and possibilities of working in this sustainable way. Through collaborations with Donegal Yarns, the Wicklow Cheviot Sheep Owners Association and Alpacas of Ireland, we produced prototypes of two types of yarn, a 100% Irish Cheviot wool and a 70/30 Cheviot/Alpaca yarn. A further collaboration with Molloy & Sons weavers has enabled the design and production of woven fabrics. To highlight the potential performance of the Irish yarn and fabric I have designed some woven garments and knitwear all constructed by local manufacturers. Through ‘project homegrown’ connections and working relationships have been formed facilitating valuable exchanges of information and encouraging further manufacturing possibilities for the future.
POSTGRADUATE: ma in design - FASHION & TEXTILES
DEE HARTE www.deeharte.com Image Mixed media – Crochet and embroidery using reclaimed wool, plastic and rubber, 2013. Photo The Artist Society defines ‘ideal beauty’ within slender parameters that are constantly shifting. For centuries the pursuit of the fashionable silhouette necessitated restrictive corsetry to bind and reshape. Nowadays we rely on exercise and drastic surgery in the pursuit of perfection. The desire to always be more beautiful and the aspiration to achieve perfection perpetuates a cycle of desire and action towards a goal that is always unattainable. This project explores how narrative can be integral in the inscription of identity and reflects upon a series of intimate and self-deprecating conversations between women that relate to issues of self-image, self-esteem, identity and desire.
Through the manipulation of fibre, the work examines the potential of clothing to explore the tensions and fragility between body and mind. Reclaiming material from worn and discarded garments; the very fibres are charged with meaning. They are impregnated with traces of everyday life and have the ability to reach personal thoughts and invoke emotional memory; the imaginative vision explores fibre and weave as meaning through the adoption of a tactile language. The work examines the deconstruction of body parts and the re-assemblage to construct physical manifestations of desire. Mark making through stitch and embellishment explores the practice of self-harm, scarification and the extreme cultural practices of body modification. Evolving from the act of undressing, the wearer and audience are confronted with ideas of the self and representations of what constitutes female desire. Through textile constructions such as crochet the work explores the tension between skin and garment in the struggle to fulfil desire.
POSTGRADUATE: ma in design - EMBROIDERED TEXTILES
230–231
BRIAN KEOGH brianpkeogh@gmail.com IMAGE Echoes of the Classical World, 2013 PHOTO The Artist I am fascinated by the scattered and degraded remains of ancient cities and towns. The sundered traces of once great cities of the Classical era: Persepolis, Ai Khanum, Pompeii, Neopolis and many others offer tantalising glimpses of an era of vast palaces and monstrous ruins. Awe inspiring in their grandeur and vaulting ambition they now lie shattered and broken across the Middle East, the Mediterranean and North Africa. The use of classical forms alludes to the officially sanctioned histories of the past, which I attempt to explore and subvert. I seek to invest the work with movement and energy whilst at the same time conveying a sense of pathos, and the precariousness of existence.
POSTGRADUATE: ma in design - CERAMICS
Notions of the temporary, the fragment, the ruin are important here. Surfaces are pared down to their essence – dry, broken, scarified, bleak, hopeless beyond redemption. Nothing escapes the relentless inevitability of time passing, the wearing down, rendering into nothingness of the great civilisations. The use of thrown elements provides vigour and tension to the work, whilst the fired properties of clay capture the stony hardness of forms that teeter perilously on the brink of ruin.
PATTY MURPHY pattytoomey11@eircom.net Image ‘Fragile Strength’, 2013 Installation Bone China Clay, Lacemaking Threads and Wood, 8‘ x 2’ Fragile Strength Clay and fabric have held a fascination for me for as long as I can remember. This MA work is a continuation of my undergraduate research on Youghal needlepoint and crochet lace. I now propose to interpret in clay sculpture a body of work that reflects the making and meaning of the lives and work created by this female community of laceworkers in the late nineteenth and early twentieth centuries. My interest lies in examining the labour and materiality of this small rural industry and in exploring the relationship between the lace-workers and their lace. Their personal narratives, technical expertise and connectedness with their labour is encapsulated in the material objects that they constructed. These objects, frozen in time, persist as a medium through which we can access the past and keep it in living memory.
POSTGRADUATE: ma in design - CERAMICS
Pre and post Famine Ireland was a time of unprecedented economic poverty. Throughout this period the Youghal lace-workers’ labour managed to sustain their families and hold the community together while accomplishing such high standards of excellence in their lace work that it became world renowned. My work is an exploration and celebration of the fellowship and the role the lace-workers played in the survival of their east Cork community. The tools used in lacemaking were inexpensive, readily available and often made of bone. The sewing needle and crochet hook were their valued personal possessions, and I suspect, significant to their personalities and their economic standing. I have selected the sewing needle as a metaphor for this cluster of five hundred Youghal female lace-workers. The inherent duality of delicacy and strength of the bone china used to make the needles reflects the fragility of the lace object and the enduring strength and persistence of its makers.
232–233
KATE O’KELLY katyokelly@yahoo.co.uk IMAGE ‘Kate O’Kelly, Chatter, 2012 PHOTO The Artist The Hybrid Object My work explores memory and play through the use of objects and forms. Abstracted shapes based on individual components of various familiar objects become a vocabulary of forms which can trigger association. The domestic sphere is explored as an environment where ideas and understanding of the world are formed in childhood. Child Phychologist Lev Vygostky speaks about how the manipulation of objects shapes childhood development. By transforming the meaning and name of the object and manipulating it, we begin to form our imagination.
POSTGRADUATE: ma in design - CERAMICS
My focus has been on the domestic environment and its ornamental, decorative, and functional objects. My interest lies in exploring the significant roles that such objects can play in life as both carriers and repositories of meaning. I do so via the manufactured ‘hybrid object’. I work with industrial manufacturing processes such as CAD programs and RP technology in combination with traditional craft techniques in order to produce these hybrid objects. In this way new interpretations of existing forms can be produced. The new object is conceived as a digital drawing in an alternative cyberspace. This references the way that we store memories in our subconscious where often fictional and emotional elements are processed to form our personal narratives. Hybrid objects have a long tradition within surrealist art. Digital process facilitates new hybridities of form, material and desire.
FIONA AHERN ahernfiona@yahoo.ie Your carriage awaits: an examination of the design and decoration of nineteenth-century Irish bespoke carriages Early eighteenth-century carriages were huge cumbersome affairs, designed as much to signal elite position in society as to convey the owner from place to place. Philosophical debate equating luxury with commerce and encouraging a demand for quality consumer goods in the eighteenth century led to changing patterns of consumption, speeding technological advances in many areas of design. Technology transformed both use and ownership of carriages over the course of the nineteenth century. Taste and fashion emerged as important driving forces behind product innovation.
A central research question of my thesis investigates to what extent this new consumerdriven aesthetic contributed to the continued success of Hutton, the Dublin coach-builder, in the aftermath of the Act of Union? The lure of London fashions was a constant to be reckoned with, ‘look, elegance and price’ being important considerations for the Irish ‘middling sort’. How typical were the measures adopted by Hutton, based on the north-side of Dublin, to secure and expand his customer base and how successful were these approaches? My thesis uses the Hutton archive to examine the management of a luxury goods business in Dublin city in the early nineteenth century. Image Design of a nineteenth-century carriage, by Hutton, Dublin, incorporates an ingenious paper flap to illustrate alternative options for the client. Early nineteenth century watercolour on card, from a collection of carriage designs in the Hutton Archive, Ardgillan Castle
POSTGRADUATE: MA IN DESIGN HISTORY AND MATERIAL CULTURE
234–235
VEERLE DEHAENE veerleatthemill@gmail.com A History of Dublin’s costume makers for film and theatre, the tailor and the tailoring shop. The initial motivation and inspiration for this research stemmed from a personal involvement in film and theatre, working within costume departments. A new source for men’s period costume is emerging within costume departments in Ireland. For many years the predominant sources for principal men’s period costume were several small tailor shops located around Dublin’s city centre. These tailors, with no formal training in historical costume, were skilled craftsmen who through personal investigation and research gained the skills to expand their client base, working for film and theatre. For the purpose of this research, the Dublin costume tailor Denis Darcy, will be taken as a case study and his now closed workshop investigated as a primary source. Darcy began his tailoring apprenticeship in 1956 and in 1958 he was awarded an Intermediate City and Guilds certificate.
In April of the same year he commenced an eight-year apprenticeship in Louis Copeland’s tailors, Capel Street, Dublin. Darcy was trained in the contemporary tailoring methods of the time and was not trained in period costume. In 1967 Darcy set up business at 104 Dorset Street, Dublin 1. His first major commission for theatre, which was exclusively period cut, came in 1984. This production titled Lovesong, was performed in the National Concert Hall, Dublin, on 31 March 1984. A chance meeting with Paddy Funge, an actor involved in the production, initially awakened Darcy’s interest in theatre. Darcy, with a core skill base in tailoring, began to research period cut and maintained a steady stream of work for the film and theatre business. The traditional tailor and his shop is no longer the primary source for principal cast men’s period costume. A preference for makers trained in historical costume and employed on site in the film studio or theatre workshop, is emerging. The aim of this research is to catalogue the work of these craftsmen who have largely been omitted from accreditation and to analyse what effect these changes in practice will have. Image Denis Darcy in his workroom on Capel Street, May 2012. Photo The Researcher
POSTGRADUATE: MA IN DESIGN HISTORY AND MATERIAL CULTURE
EMMA DOWDALL emmajanedowdall2@hotmail.com The Impact of Sibthorpe on Nineteenthand Early Twentieth-Century Irish Interiors and Decoration The purpose of this thesis is to examine Sibthorpe, an Irish interior decorating company which was in operation for over two centuries in Ireland. This will be achieved through the examination of a collection of designs executed for their influential clientele in the private houses and the government buildings of Ireland. An object analysis of panels and mock constructions of different decorative features created by Sibthorpe will also be undertaken. A selection of marketing materials, such as postcards, newspaper adverts and articles in interior magazines, used to promote the company will be discussed and analysed.
Reflecting on the company’s ability to adapt to different fashionable styles and clients' needs, case studies focused on Russborough House, Blessington, and the Masonic Hall, Dublin, will be discussed, paying particular attention to the styles and designs suggested by Sibthorpe. The aims and objectives of this thesis are to critically analyse both the visual and material culture left behind by Sibthorpe company and discover their role and contribution to Irish decorative interiors.The final broad objective is to expand on our knowledge of the decorative art and interiors of buildings in Ireland during the nineteenth and twentieth century. Image Sibthorpe advertising material, courtesy of the National Archive
POSTGRADUATE: MA IN DESIGN HISTORY AND MATERIAL CULTURE
236–237
AOIFE DOYLE aoife_ie@hotmail.com 20 Ringsend Road, Modernity in Ireland from Trams to Tracks Buildings, especially when they are aggregated into cities, are the largest artefacts... produced as the result of complex interactions of social and economic force - Andrew Ballantyne (2006, p 36) Architecture as Evidence This research aims to examine the material culture and modernity of early twentieth century Dublin, through one building – 20 Ringsend Road. I look at its architecture and trace its history and changing uses. Roland Barthes suggests in his theory on urban semiotics that urban structures often have symbolic meaning beyond their functionality. The building, a Transformer Station, was built by the Dublin United Tramway Company in the Neo Egyptian style and was designed by Vincent Kelly. It became operational in 1931. With the demise of the tram in 1949, the Transformer Station was closed, and the building was sold to Bovril Ireland.
In the 1980s with the decay and decline of Dublin and high unemployment, the building became a snooker hall aiming to ‘contribute to inner city renewal and providing recreational facilities’ (Quinn, 1982). In 1989 the building changes its use again. After extensive refurbishment and restoration it becomes Ringsend Road Recording Studio, later Windmill Lane Recording Studio, the largest recording studio in Ireland. Artistic tax breaks encourage overseas and international artists to live and work here. With the youngest population demographic in Europe and a society becoming more open and outward looking, Dublin city also undergoes radical rejuvenation and renewal. The building is now listed in the Dublin Docklands Area Master Plan (D.DUB 1.223 AAI). A report carried out by the School of Architecture in UCD in 1996, suggests that its architectural importance is its ‘Rarity (and) Uniqueness’. It is now a listed building. 20 Ringsend Road through its changing uses reflects the wider social history and material culture of Dublin and its people, and this research aims to investigate this manifestation of modernity in twentieth century Ireland. Image 20 Ringsend Road
POSTGRADUATE: MA IN DESIGN HISTORY AND MATERIAL CULTURE
ELAINE HEWITT elainehewitt7@eircom.net A Fitting Profession: An investigation into the Industry of the professional dressmaker in Dublin c.1890-1910. ‘A woman's first duty in life is to her dressmaker, isn't it? What the second duty is, no one has as yet discovered.’ - An Ideal Husband Oscar Wilde (1895) There was a considerable demand for custom dressmaking in turn of the century Dublin and some dressmakers attained a level of great success and notoriety. Faced with the massproduction of clothes and the availability of ready to wear fashion, only the most successful dressmakers were able to survive. My research investigates the world of the late nineteenth century dressmaker. I explore how dressmakers entered the trade and the nature of their training. Garments made by these dressmakers - currently held in the collection of the National Museum of Ireland – will be compared with mass produced items from the same period in order to arrive at a keener understanding of the production methods employed.
In particular I examine a range of garments created by Forrests & Sons and by Mrs Simms and Mrs Moore. This work provides the basis for a more general discussion of Dublin dress-making from 1890 - 1910. An exploration of the nature of the relationship between dressmaker and customer also forms part of this research. Artisan and customer came from different classes in Irish society. However, in the engagement of dress making, lessons were learnt and social barriers broken. The shared goal of these two women brought about an affinity of purpose and a broader understanding of each other. It is in essence the nature of this triangular relationship between the consumer, the dressmaker and the designed object that will be explored in my research. Image: 'Lady's Poplin Tea Gown by Forrest's of Grafton Street, Dublin, c.1890’ (image courtesy National Museum of Ireland)
POSTGRADUATE: MA IN DESIGN HISTORY AND MATERIAL CULTURE
238–239
FRANCES MCDONALD francesmmcdonald@gmail.com Designs On Middle Class Interiors: The Kilkenny Woodworkers 1905 – 1920 For a relatively short period of time at the beginning of the twentieth century the Kilkenny Woodworkers operated a successful manufacturing and retail business making furniture and other works at their factory on the outskirts of Kilkenny, which was then sold through their shop in Dublin. Originally established as a Guild of Woodworkers, the group soon received the support and patronage of Captain, The Hon. Otway Cuffe and his sister-in-law, Ellen, Countess of Desart who, by 1907, had established a new factory and Model Village at Talbot’s Inch on the outskirts of Kilkenny.
From 1907 onwards, The Kilkenny Woodworkers advertised regularly in newspapers and journals of the period and in 1912 they produced a Catalogue of Household Furniture. Through analysis of this primary source material as well as extant examples of their furniture and contemporary newspaper reports, my research proposes to identify other design influences within their work and investigate to what extent these influences, and the visual imagery they adopted in their marketing material, reflected the concerns, tastes and consumption practices of Ireland’s growing middle class. Image Thom's Directory, 1908. Image courtesy of the National Library of Ireland
Having quickly gained a reputation for making fine furniture, which was, according to contemporary reports in the Irish Times of ‘handsome design and elaborate workmanship’, their early years brought many exhibition opportunities and high profile commissions. However, the latter years of the company were marked by industrial disputes and strikes and by 1920 they were in decline. Today their work is most frequently discussed in the context of the Arts and Crafts Movement in Ireland and as an aspect of the Celtic Revival.
POSTGRADUATE: MA IN DESIGN HISTORY AND MATERIAL CULTURE
EIMER NÍ MHAOLDOMHNAIGH Costume and authenticity My thesis is concerned with the practice of costume design in film and with exploring some of the critical debates concerning authenticity and manipulation which arise in discussion of the role of costume within film. Costume design in film as a career and discipline has developed rapidly since the beginning of the twentieth century in conjunction with the emergence and development of the film industry. Certain key debates have arisen: the relationship and distinction between costume design and fashion, costume design and history including ideas of authenticity, costume design and art (when art is used as a research tool and in reconstruction, reinterpreting the past), costume design and dress history, costume design and national identity. Many of these areas of enquiry start out being quite negative towards costume design. Costume design cannot seem to find a true niche either within film aesthetics or fashion. It straddles many disciplines but is it accepted by any?
Although costume design references fashion, it is more concerned with character. Historians, including historians of dress are skeptical with regards the accuracy of film costume. Art historians are probably by and large untroubled by costume design or how designers constantly use art as a reference to recreate images and ideas of the past. However, how much autonomy does the costume designer actually possess within the creative realization of a film? They work to a brief and have to keep a lot of people happy from the director and actor, to the producers, the audience and the critics. Within this they attempt to negotiate their own identity as a creative professional, with one foot in the real and the other in the creative, artistic arena. Costume design within the film industry is constrained by commercial imperatives for there is a product, the film, which must sell. Within the realm of costume design, debates of authenticity and manipulation can often be sacrificed at the altar of commercial success. Image ‘Costume/Manipulation’ Photographs by Joss Barratt, Courtesy of Sixteen Films.
POSTGRADUATE: MA IN DESIGN HISTORY AND MATERIAL CULTURE
240–241
GLEN O’SULLIVAN glensullie@gmail.com The Dublin Tramway: Modern Navigational Systems as Graphic Communication. Trams passed one another, ingoing, outgoing, clanging - Ulysses At the turn of the Twentieth Century, the cacophonous sounds of the Dublin Tramway were a regular infiltration on the ears of the urban dweller and shaped the lives of Dublin’s inhabitants. Whether a humble tradesman, a Trinity Scholar, a grandiose glover or a befuddled tourist, the trams were the preeminent choice of transport available to the public. As with all great and novel labyrinths, navigational aids such as maps, were required to get the tram-user from their initial position to their chosen destination. The communication of data has long existed before our current accelerating epoch of GPS, Facebook and Twitter. Graphic representations have been around for millennia.
A seldom-acknowledged technology that positions itself as the interface between a city and the public is the folding transport map. Still, public transport maps prevail as one of the most recognisable cartographic items across the globe. The most important way to engage with a city is to navigate it: one must gain knowledge of its body, familiarise themselves with its arteries and veins, know when and where you enter or exit it, and acquire a knowledge of where things are and how to get to them. By visualising the information presented to us in transport maps, we transform the data into a systemised landscape. This research will impart new erudition about Dublin’s Tramway maps, and how, as pieces of efficient Graphic Design, transport maps aided the wayfarer in their everyday navigation. Image G. W. Bacon’s Large Scale Plan of Dublin and Suburbs [c. 1904]. Reproduced with the kind permission of the Board of Trinity College Dublin.
POSTGRADUATE: MA IN DESIGN HISTORY AND MATERIAL CULTURE
STEPHEN ODLUM stephenodlum@gmail.com Symbolism in the designs and marketing of the Irish Flour Milling industry 1920-1970
This administration envisaged an Irish statehood based on conservative, rural and gaelic principles. To what extent did this ‘ourselves alone’ stance contribute to the eventual decline of traditional Irish industries?
This study examines the external social, political and economic influences that shaped the way the Irish flour milling industry marketed its products and product use. It proposes to undertake an object analysis of the packaging used and, in particular, the use of specific Irish symbols and typology in the graphic designs used by the manufacturer. I consider the influence on manufacturers of increasing nationalist sentiment in Ireland post 1916 and the drive towards economic self-sufficiency in the early years of the new Irish Free State.
The research will also examine the transition in the Irish economy after 1957 from state inspired to market led forces. It will examine how the advent of professional graphic design and the emergence of a new retailing culture in Ireland forced the flour milling industry to adapt to changing circumstances. This combination of opportunity and threat was to radically alter the face of the industry forever. Branding by individual companies became the norm rather than the state sponsored initiatives that had preceded it.
To what extent did manufacturers in their publicity materials conform to the new vision of Ireland espoused by de Valera’s Fianna Fail government in power after 1932?
Image Advertisement for National Flour Mills, Cork from feature article on the Mills of Ireland, Irish Press, Friday, 30th. November, 1934.
POSTGRADUATE: MA IN DESIGN HISTORY AND MATERIAL CULTURE
242–243
MAEVE HUNTER maevieh@hotmail.com http://maevieh.wix.com/maeve-hunter Image Student, Room 13, Kenya, 2013 Water Colour, Digital print: the artist My research project explores the question of whether art education can provide a constructive link between formal and nonformal education, thereby facilitating learners in a disadvantaged educational setting
In Room 13, students are encouraged to take the lead, be creative, and to think for themselves. As part of my MA research I was given the opportunity to travel to Nakuru in Kenya, to set up a Room 13 studio for the children in St. Jerome’s Children’s Home. I was able to observe the Kenyan education system, and to integrate myself in to the Kenyan way of life, as I lived with the children in the orphanage during my stay.
It does so with specific reference to: the application of the ‘Room 13’ model of art education in a setting in the developing world (Kenya)
This participant research allowed me to access the Kenyan education landscape, at least temporarily, and to reflect upon it.
Room 13 is an exemplary art studio system run by students for their fellow students under the guidance of an artist-in-residence. It has the objective of introducing students to and educating them in the arts, thereby encouraging their artistic development.
On my return I found that an arts based research practice (in my case painting and digital fabric printing) was the best way to share my experience. “My physical body and senses are present”. “images enable meaning to travel in ways that words cannot” (Burns 2003)
POSTGRADUATE: MA in Visual Arts Education
BlÁithín Quinn blaithinannquinn@gmail.com Image 'Shaping Space’, 2013. Exhibition poster, Graphic: Ciaran McClelland and Blaithin Quinn in collaboration with Red Bird Youth Collective and Galway Arts Centre. Site-specific group exhibition, Nun’s Island Theatre, Galway, 9-23 March 2013. My current practice-based research responds to a shift in current architectural discourse: a move away from the formal design and construction of buildings and towards a more socially engaged, relational mode of practice. As architecture moves beyond the singular object and art moves outside the gallery, art and architecture practices have become more entwined in the interdisciplinary space of critical spatial practice.
POSTGRADUATE: MA in Visual Arts Education
My research examines and questions the effectiveness of the architectural exhibition as a communicational event and seeks innovative and original responses to inform future developments and modes of operation in this emerging, dynamic area of architectural practice. This project was supported by the Arts Council of Ireland and the Department of Arts, Heritage and the Gaeltacht under the ‘Engaging with Architecture’ award
244–245
SIOBHAN HYDE www.siobhanhyde.com IMAGE Utensils 1913, 2013, Screen print PHOTO CREDIT The Artist Utensils 1913 In 1913, one third of Dublin's population lived in abject poverty in dwellings known as tenements or slums. Infant mortality was high due to rampant disease in cramped living conditions. This misery was one of the triggers of the Dublin Lock Out, an industrial dispute involving over 20,000 workers and some 300 employers. To commemorate the centenary of the most significant industrial dispute in Irish labour history and to remember this pivotal bitter fight for the right to unionise, many cultural events and services have been organised.
My screen print "Utensils 1913" commemorates the Dublin lock out by focusing on the sparse domestic crockery, bare walls and floors of a tenement dwelling. The chamber pot portrayed in the corner can be read as is a symbol for disease, deprivation and lack of proper sanitation facilities in the tenements. The small red dot on the lid of the teapot creates a contrast against the flat greyscale palette denoting the poverty and dismal interiors of that time.
POSTGRADUATE: Professional Diploma in Art & Design education
246–247
CEAD: FOREWORD
FOREWORD: CONTINUING EDUCATION IN ART & DESIGN
Continuing Education in Art and Design (CEAD) at NCAD offers an extensive range of part-time art and design courses. CEAD courses take place in the autumn, summer and at Easter, day-time and evening. CEAD caters for a range of levels from beginners, to improvers and those seeking a route to professional practice.
Photography and Digital Imaging, (PDI). This one year course offers students an opportunity to extend their visual vocabulary and explore the creative possibilities of photography within contemporary visual art and design practice. The course takes place two evenings a week over a twenty four week period.
Continuing Education offers part-time accredited Certificate and Diploma options for mature students. One year Certificate courses include; Drawing and Visual Investigation, Photography and Digital Imaging and Visual Art Practice. Students who successfully complete a Certificate can apply to the parttime Diploma. All part-time programmes are minor awards within the National Framework of Qualifications. NCAD plans to provide a route to a part-time degree catering for those students who choose to study part-time.
Visual Art Practice (VAP), is a flexible programme, offering students a wide range of modules to choose from. Students can audit this programme or take modules for credit purposes. Examples of modules include; drawing processes, printed textiles, painting and research methods, bronze-casting and jewellery design.
Non-credit courses and workshops are offered to students who want to return to third level but need to develop their skills and knowledge, before committing to accredited options. CEAD provides continuing professional development options including master-classes for those seeking to up-skill and acquire further professional experience. The CEAD exhibition takes place on campus annually and presents an excellent opportunity to view students work. CERTIFICATE COURSES Drawing and Visual Investigation, (D+VI). This one year course provides students with knowledge, skills and understanding of contemporary approaches to drawing and visual research. The course takes place two evenings a week over a twenty four week period.
CEAD: FOREWORD
DIPLOMA Students who have completed a part-time Certificate are eligible to apply to the parttime Diploma. This one year intensive course includes studio practice and visual culture. Students are required to attend two evenings a week, some Saturdays and day-time blocks. This course aims to introduce student to concepts, ideas and research processes in art and design, provide students with technical skills applicable to practice, encourage students to develop ideas across fine art and design.
NUALA HUNT HEAD OF CONTINUING EDUCATION IN ART & DESIGN
248–249
Aileen MALONE Title Of Work Outside Medium Drawing graphite, charcoal, ink aileendub@gmail.com
Annabel Potterton Title Of Work Phone Parts and Condoms Medium Pen on paper annabelpotterton@hotmail.com
CONTINUING EDUCATION IN ART AND DESIGN: DVI
Aoife Smith Title Of Work film 'identity' Medium Still from film aoifesmithdublin@icloud.com
Cliodhna Bourke Title Of Work Marshmallows Medium Pencil cliodhnabourke@gmail.com
CONTINUING EDUCATION IN ART AND DESIGN: DVI
250–251
Gary Reilly Title Of Work control, alt, delete, relax? Medium Pen and ink garyjoanneusherreilly@hotmail.com
Jennifer McGarry Title Of Work A Snail's World Medium Graphite pencil jennie_mcgarry@yahoo.com
CONTINUING EDUCATION IN ART AND DESIGN: DVI
Nathalie Slachmuylders Title Of Work Barn Samples Medium Acrylic and carbon tracing on paper nathalieslachmuylders@gmail.com
Phyllis Ryan Title Of Work Will we get a packet of Jaffa cakes? Now you’re going to have to go in the trolley Medium Photography phyll_3@hotmail.com
CONTINUING EDUCATION IN ART AND DESIGN: DVI
252–253
Rosie O’Reilly Title Of Work Distant Winsch Medium Pen and ink www.rosieoreilly.com
SuSAN Reid Title Of Work Games Medium Photo collage, paper, pencil suereid3@hotmail.com
CONTINUING EDUCATION IN ART AND DESIGN: DVI
Teresa Drislane Title Of Work Abandonment Medium Photo and collage treasaof@gmail.com
Brenda Quinn Title Of Work Face Medium Photography brendaq@gmail.com
CONTINUING EDUCATION IN ART AND DESIGN: DVI/PDI
254–255
David Barbour Title Of Work Epiphany Medium GicleĂŠ print on Di-bond dbarbour@gmail.com
Geraldine Coakley Title Of Work Sound in Action Medium Digital image coakley100@hotmail.com
CONTINUING EDUCATION IN ART AND DESIGN: PDI
John Mc Menamin Title Of Work Untitled 4 Medium Photography jjjmmcc@gmail.com
Michelle Dempsey Title Of Work Citizan of that other place Medium Digital image justdemps@gmail.com
CONTINUING EDUCATION IN ART AND DESIGN: PDI
256–257
Niamh Maloney Title Of Work "‌But to give light implies no less a somber moiety of shade." Medium Digital image niamhmol@gmail.com
Philip Doyle Title Of Work Lampshade Medium Photography pilihper@gmail.com
CONTINUING EDUCATION IN ART AND DESIGN: PDI
Sally Graver Title Of Work Now and Then – A family photo album Medium Photos - old & new sryangraver@gmail.com
Hannah Tiernan Title Of Work Deconstructing Rituals Medium Pen and paper han.tiernan@gmail.com
CONTINUING EDUCATION IN ART AND DESIGN: PDI/VAP
258–259
Alicia Ruiz Lopez Title Of Work Fact Zero Medium Metal and wood aliciaruizlpez@hotmail.com
Jeanette Lowe Title Of Work Virgin in Graveyard Medium Photography www.jeanettelowe.ie
CONTINUING EDUCATION IN ART AND DESIGN: VAP
Susanne Wawra Title Of Work Thistle Medium Watercolour on paper wawra.susanne@gmail.com
Harry Abraham Title Of Work Elements of St. John's Church Medium Acrylic on canvas harryabraham22@gmail.com
CONTINUING EDUCATION IN ART AND DESIGN: VAP
260–261
Lone Hansen Title Of Work The Wishing Tree Medium Paper and cardboard loneroe@eircom.net
Deirdre O'Scanaill Title Of Work Ita Medium Plaster and board deirdreoscanaill@gmail.com
CONTINUING EDUCATION IN ART AND DESIGN: VAP
Elaine Crowe Title Of Work Secret 1 Medium Ceramic, wax, hoover dust elainecrowe@hotmail.com Maria Rosa Monleon Sanchez Title Of Work Wireless Medium Plaster, bandage, mask rosa.monleon@mae.es
CONTINUING EDUCATION IN ART AND DESIGN: VAP
262–263
Eamon Ryan Title Of Work Convention Centre, Dublin Docklands Medium Mixed media ceryan@eircom.net
Philip O'Meara Title Of Work Latent Youth Medium Acrylic and tempura on canvas philip_omeara@hotmail.com
CONTINUING EDUCATION IN ART AND DESIGN: VAP
Sheila Byrne Title Of Work Empty Nest Syndrome Medium Acrylic, mixed media on board sheilabyrne2@hotmail.com
Audrey Barrett Title Of Work Prisoner Medium Ceramic and chain audrey.barrett@gmail.com
CONTINUING EDUCATION IN ART AND DESIGN: VAP
264–265
Ciara Ward Title Of Work Hanging Balls Medium Found material ciara.queenie@gmail.com
Daren Robinson Title Of Work Rorschah Medium Mixed media on paper decor_ireland@hotmail.com
CONTINUING EDUCATION IN ART AND DESIGN: DIPLOMA
Eithne DeValera Title Of Work Ear Medium Oil on canvas
Ewa WERNIO-Ryan Title Of Work Hanging Wire Cubes Medium Mixed media ewwernio@gmail.com
CONTINUING EDUCATION IN ART AND DESIGN: DIPLOMA
266–267
Jana Langova Title Of Work Freedom Medium Mixed media jana.langova1@gmail.com
Jane Frew Title Of Work Pink Beach Medium Acrylic on MDF werfenaj@gmail.com
CONTINUING EDUCATION IN ART AND DESIGN: DIPLOMA
Kerry o’Hare Title Of Work Light Studies Medium Acrylic paint on photograph kerry.ohare@comreg.ie
Maria Kinsella Title Of Work No Title Medium Mixed media on wood mariekinsellagraig@gmail.com
CONTINUING EDUCATION IN ART AND DESIGN: DIPLOMA
268–269
Orla O’Regan Title Of Work Installation Medium Mixed media orla.o@hotmail.com
Peter Black Title Of Work The Pegasus Project Medium Mixed media pblack@kildarecoco.ie
CONTINUING EDUCATION IN ART AND DESIGN: DIPLOMA
Ria CHERNIAK-LEBOV Title Of Work While I was sleeping Medium Mixed media installation riaczerniak@gmail.com
Ronan Mc Loughlin Title Of Work Pink Car Medium Acrylic on wood ronanmcloughlin@gmail.com
CONTINUING EDUCATION IN ART AND DESIGN: DIPLOMA
270–271
Sheona Foley Title Of Work Painting in white circles Medium Mixed media sheona@eircom.net
Sylvia Linehan Title Of Work Boys Medium Mixed media sylvia.linehan@hotmail.com
CONTINUING EDUCATION IN ART AND DESIGN: DIPLOMA
Laura O’Sullivan Title Of Work Technology Sections Adrift Medium Acrylic on board laura.sullie@gmail.com
CONTINUING EDUCATION IN ART AND DESIGN: DIPLOMA
272–273
VISUAL CULTURE: FOREWORD
NIVAL
The National Irish Visual Arts Library (NIVAL) is a specialist research resource, established in 1997 by the library of NCAD in partnership with the Arts Council. The library collection is available to all members of the public without charge or membership. The primary and essential objective of NIVAL is the documentation of Irish art and design, from 1900 to the present day. The Library is designed to foster interest in Irish visual culture and promote Irish art and design across a broad range of constituencies. It aims to benefit contemporary artists by providing a secure and accessible place for the deposit of visual and textual information related to their work. NIVAL priorities the collection of information on artists living and working today, in Ireland and the wider Diaspora. The collection policy includes visual art from the whole island as well as Irish art abroad and non-Irish artists working in Ireland. Information is acquired on artists, designers, galleries, arts organisations and institutions, critics and other related subjects. The NIVAL collection of books, journals and catalogues is the most comprehensive library collection of published titles relating to Irish art and design consisting of 3000+ books and catalogues and approximately 100 journals. NIVAL also collects artists’ papers, institutional records, videos, slides, press material and ephemera in print and digital format.
The Ephemera Files contain an unparalleled collection of print and electronic material such as invitation cards, press releases, news clippings, brochures, and small-scale catalogues documenting artists, designers, galleries and related areas such as art collections, funding bodies, public art, studios and community art. NIVAL also holds more than 35 Special Collections and archives and continues to acquire new collections through donation and deposit. The most frequently referenced among these are the College Student Registers (1877 –1980); Earley & Company Design Archives (1852–1974); Daniel Egan Gallery Collection (1920’s–1930’s); Mainie Jellett Collection (1897–1944); Kilkenny Design Workshops Archive (1963-1989); Irish Exhibition of Living Art Archive (1947–1971); Dorothy Walker Collection: (1960–2000); The Artist Led Archive: (1970-present); Temple Bar Gallery and Studios Archive (1983 until 2000). The collection is developed and catalogued to encourage and enhance research activity at all levels. The NIVAL website hosts a number of important reference tools for access to information on the collections. These include three cross-searchable databases of our artists, galleries and exhibitions files and a number of digital finding aids for some of our Special Collections. Visit www.nival.ie to learn more about the NIVAL collections and services.
DONNA ROMANO ACTING LIBRARIAN
NIVAL
274–275
VISUAL CULTURE: FOREWORD
NCAD GALLERY: IDEAS IN ART AND DESIGN
The NCAD Gallery opened to the public in March 2009 as part of the refurbished Thomas Street Fire Station building which came to the College from Dublin City Council. Named Harry Clarke House, the building provides extra teaching, learning and administrative spaces with the new Lecture Theatre often programmed in relation to exhibitions, projects and events in the new Gallery space.
In future there will be an increasing emphasis on invitations to students/staff to exhibit and the intention is to integrate the content, selection, discussion, mediation of exhibitions and gallery projects into the College curriculum and at the same time be one element of the deepening connections with the redevelopment of the Thomas Street and James Gate areas.
Since 2009 the Gallery has presented a very wide range of exhibitions including one person and group exhibitions by emerging and established figures in art and design in Ireland and elsewhere, retrospective exhibitions by influential figures, projects which have emerged from relationships with communities in Dublin 8 and staff and student projects. The Gallery programme is funded entirely by the College, though individual projects/exhibitions have attracted additional support, and is programmed by a committee of staff members, with student representation. In all areas the Gallery is programmed on the basis of invited and unsolicited proposals which we ask to address the specific physical context, the College context and the context for art and design in Dublin, Ireland and internationally. The programme has also included collaborations with other galleries and visual arts organisations in Ireland. The Gallery is considered a public as well as a College venue and the programme reflects the repositioning of the College as a national cultural institution with a definitive role and contribution to the public domain.
The exhibition for summer 2013 presents material from NCAD’s National Irish Visual Arts Library (NIVAL) (photo) which, with support from the Arts Council of Ireland, contains a range of personal and organisational archive material from 1900 to the present in Ireland. The exhibition has a particular focus on the leading Irish art critic/writer Dorothy Walker, since the 1960s who, up to her death in 2002, was a key figure in the development of the visual arts in Ireland. The Dorothy Walker Archive, donated by her family, is now housed in NIVAL and has been recently indexed, with a selection of material presented in the exhibition. The material covers her work as a consistent advocate for Modernist art and design in Ireland in the late 20th century, made available to the public here for the first time.
NCAD GALLERY: IDEAS in Art and Design
Professor Declan McGonagle DIRECTOR NATIONAL COLLEGE OF ART AND DESIGN CHAIR, GALLERY COMMITTEE
276–277
ORIGIN8
Origin8 is a design innovation and commercialisation gateway at the National College of Art and Design. Origin8 functions as a portal for business clients to collaborate with our leading designers through knowledge transfer. It operates as the connector between academia and industry. Origin8 also supports staff, students and design residents in the development of products and services, campus company start-ups and related creative enterprise. Across eight disciplines, we have highly skilled design practitioners with extensive experience successfully delivering projects from a portfolio of once off and regular clients. During the last twelve months we have worked over forty short and long term client based projects. Origin8 has experienced staff that can help guide the client, student, design resident or staff member through the various funding schemes available for their design research requirements. We work closely with Enterprise Ireland who provides a range of research grants, such as innovation research vouchers, innovation partnerships, technical feasibility grants and commercialisation funding schemes. Other clients work with the design faculty through knowledge transfer partnership (KTP) agreements.
NCAD: ORIGIN8
Origin8 is a new innovation and commercialisation support mechanism that has attracted significant research funding to support a number of high potential start-up companies. Instead of developing businesses outside the academy our postgraduates are now benefitting from setting up design companies inside the institution. The first two companies to use this model are Gazel and Biobox. Both companies focused on the commercialisation of products that were first developed at the NCAD during collaborative design research in real world scenarios. Gazel is developing a unique clothes hanger that is ingeniously easy to use, stylishly elegant, and has mass market potential. The initial concept was the outcome of a human factors research study for Pfizer and Arthritis Ireland which looked at the issue of joint pain experienced by arthritis sufferers. Subsequently the NCAD proactively secured commercialisation funding for the clothes hanger which is now one of a programme of related homeware products currently being developed by the Gazel design team.
Biobox also captured commercialisation funding. Biobox is a disposable biodegradable kitchen counter receptacle for organic household waste. Once full you pop the Biobox in your outdoor organic waste bin and use a replacement Biobox until it is full and so on. This clever idea was first developed by a postgraduate student who was engaged with developing products manufactured using waste resources. Not only is the Biobox biodegradable, it is made using an innovative technology that uses waste resources that was also developed by the student. The Biobox product was developed during a two year collaborative project with external partners Ballymun Regeneration, The Rediscovery Centre and RX3. Although only recently established, Origin8 now operates as a vital technology transfer support unit for spin-ins, spin-outs and related creative enterprise at the NCAD. With this initiative, the NCAD’s organisational culture is very much aligned with the Irish Government’s recent strategic plan to create a SMART Economy. Our primary objective is also to focus on innovation and creativity, as well as the key intellectual capital necessary to transform those ideas into new technology, products and services.
Derek McGarry Head of Design Innovation and Commercialisation
NCAD: ORIGIN8
278–279
Study at NCAD
The Future of Art & Design Education in Ireland
NCAD has always been an innovator and leader in the field of art and design education, questioning and reinventing what we do to ensure that the degree programmes we offer continue to be effective and relevant in a changing world. Our focus is excellence in Fine Art, Design, Education and Visual Culture at undergraduate and postgraduate level and in research. Our ambition is that our students will graduate with the skills, knowledge, and ambition to flourish in their chosen career. NCAD is moving to a new degree structure from September 2013. This new structure is based on a 3 year undergraduate degree followed by a 2 year postgraduate degree and finally a 3 year PhD, a structure we call 3+2 (+3). We believe this new degree structure will offer our students an opportunity to achieve an education in Design, Fine Art, Visual Culture or Education up to the highest level. At Undergraduate level there will be a common entry pathway through First Year Art & Design (Common Entry). All studiobased students in NCAD will experience a common first year and will, through the course of the year, choose the Faculty and then the Department supporting their degree specialisation. Degree options include Fine Art – Media, Painting, Fine Print and Sculpture, and in Design - Ceramics & Glass, Fashion Design, Jewellery & Metalwork, Textile Art & Artefact, Textile & Surface Design and Visual Communication.
UNDERGRADUATE & POSTRAGUATE
Education students will also choose which area in Fine Art or Design they will specialise in for the 4 year Joint Honours Degree in Design or Fine Art & Education. Industrial and Product Design students also participate in the common first year, the difference being that they will have chosen in advance which degree pathway they will take. For students with a strong interest in the theory of visual culture there is the opportunity to take a Joint Honours Degree in Design or Fine Art & Visual Culture. There is also a new BA (Hons) in Visual Culture available in NCAD from September 2013. This degree provides an opportunity to study the history of art and design practice in a creative art school setting. Career pathways for students taking this programme include work with museums and galleries, curation, critical and popular writing and arts management. At Postgraduate level NCAD is introducing a suite of new 2 year taught Masters programmes. These will include the MA Design and MA Fine Art, both programmes will offer students the opportunity to develop their practice through a structured programme that will enhance their skills and knowledge base and facilitate critical engagement with their chosen field in design or fine art. The Faculty of Education is introducing a new 2 year taught Masters MA in Socially Engaged Art, with a qualification to teach in the Further Education sector (subject to Teaching Council accreditation).
UNDERGRADUATE & POSTRAGUATE
The new degrees will be offered alongside the existing range of Masters and PhD programmes including in the Faculty of Design the MSC in Medical Device Design and the MA Design (Practice), in the Faculty of Fine Art the MFA in Fine Art and MA Art in the Digital World, in the Faculty of Visual Culture the MA Art in the Contemporary World and MA Design History and Material Culture, and in the Faculty of Education the Professional Diploma in Art & Design Education and the MA in Visual Arts Education. The NCAD College Open Day 2013 will be held on Thursday 5th December 2013. This is an opportunity to tour the campus, visit the studios and departments, talk to staff and current students and find out more about the area of study you are interested in. All are welcome to attend. To find out more about studying at NCAD, the programmes, the application process and the portfolio and other entry requirements contact the Admissions Office by phone: +353 1 6364200, by email fios@ncad.ie or visit our web site: www.ncad.ie/study-at-ncad
Cathy McCartney Admissions officeR
280–281
O
B ON LIVE R
D STR
EE T
CARPARK
granary building RED SQUARE
LIBRARY
HARRY CLARKE lecture theatre
HARRY CLARKE HOUSE
T HOM A S
S T RE E T
MEATH STREE T
NCAD GALLERY
ENTRANCE
ORIGIN8
SCHOOL OF DESIGN FOR INDUSTRY BUILDING
S T AU GU S T I RE E T
JOH N ST
nival
NE S T
JOHN STREET WEST BUILDING
RE E T
JOHN'S LANE WEST
RECEPTION
MAP OF NCAD CAMPUS
282–283
First published in 2013 by the National College of Art & Design Coláiste Náisiúnta EalaÍne is Deartha NCAD is a recognised College of University College Dublin © June 2013 All rights reserved NCAD, the artists, authors and publishers. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission in writing of the publisher. Published on the occasion of the NCAD Season of Exhibitions, May–July 2013.
CATALOGUE COMPILED BY GEMMA DUKE, DEVELOPMENT MANAGER, NCAD Photography on pgs 008, 108, 122, 196, 198, 248 by MATTHEW THOMPSON Designed by www.reddog.ie Printed by PRINT MEDIA SERVICES
Chairman of An Bord Seán O’Laoire Members of An Bord David Caron, Adrienne Eacrett, Orla Flynn, Peter Johnson, Lucy McCaffrey, Suzanne MAcDougald, Professor Declan McGonagle, Paul O’Brien, Colette O’Sullivan, Helen Steele, Annique van Niekerk
NATIONAL COLLEGE OF ART AND DESIGN 100 THOMAS STREET, DUBLIN 8 WWW.NCAD.IE