exhibitions
first year exhibition May 12 – 14 fashion show May 23 graduate exhibitions June 13 – 22 ncad gallery exhibition June 13 – August 29 cead exhibition July 3 – 11
Contents foreword
003
first year art & design studies
004
faculty of design Ceramics Glass Jewellery & Metalwork Fashion Industrial Design Textile Art & Artefact Textile Surface Design Visual Communication
008 014 018 021 031 046 069 083 094
faculty of education
114
faculty of fine art Fine Print Media Painting Sculpture
128 132 145 163 187
faculty of visual culture
206
postgraduate MA Art in the Digital World MA Art in the Contemporary World MFA in Fine Art MA in Design MA in Design History & Material Culture MA in Visual Arts Education
210 212 220 224 240 243 249
continuing education in art and design
250
study at ncad
280
national irish visual arts library (nival)
282
ncad gallery
284
origin8: ncad design innovation
286
ncad campus History Exhibition Locations Map
288 289 290
foreword: ‘turning’ the institution: a new ncad
NCAD is turning. The College is turning to meet a number of academic and operational challenges in this period. These are challenges which arise in the education landscape as a result of substantial financial constraints, nationally, and the simultaneously crucial need to identify, name and nourish the essential value of art and design education and how it can be articulated in learning and teaching, in research, in practice, application and experience, in an institution like NCAD, in the sector and in the wider society. It is vitally important to see through the fog of difficulties, in this era, to possibilities which require new ways of thinking, new forms of practice and of learning, including new institutional forms, to serve and make those possibilities tangible and real for students, for staff and, ultimately, for the world beyond College. The stakes are very high and NCAD is determined to live up to its responsibilities as the National College of Art and Design, with the term national understood as representing our responsibilities and not just our status. Colleges and schools of art and design, transnationally, are currently involved in ongoing debates and discussions about the nature and purpose of art and design education and, along with colleagues in the museum and gallery sector, we are responding to ideas around engagement and the new institutional forms which will be capable of delivering new understandings of purpose and the increasingly dispersed nature of learning, experience and participation which has emerged in the 21st century, in which young people are already so immersed.
To have the fullest possible role in these debates and in the generation of new possibilities for student learning, it is now necessary to create a new NCAD and, to this end, a change to the three year degree has been implemented in 2013/14, with internal changes to College structures also now in progress. The development of new thematic and regional clusters of peer institutions in Dublin is underway, in particular, with UCD, out of which will emerge shared learning, teaching and research activities which will bridge, through NCAD, to our neighbours in Dublin 8 and the ‘expanded academy’ model being developed in a partnership with Fatima/Rialto. These strategic processes are underpinned by a dynamic Development Strategy as well as being sustained by the skills and credentials of the College staff, many of whom are also significant practitioners across a range of media. NCAD has the means, therefore, as the College of first choice in art and design education in Ireland, to serve the high quality students who continue to come to the College in increasing numbers. It is our job to equip those students with skills and the understanding and use of those skills in real world settings so they can make their contributions, as artists, designers and as educators in wider society, in Ireland and elsewhere. On behalf of An Bord and the College I salute this year’s graduates as they progress from undergraduate and postgraduate study to embody the creative perspectives of art and design education, necessary to sustain meaningful engagements with the world, in whatever context they work. Professor Declan McGonagle Director
foreword
002–003
first Year Art and Design Studies
First Year Art and Design Studies introduces students to new and exciting ways of thinking, learning 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. First Year Art and Design Studies covers a broad range of Art and Design practice including drawing, 3D work, painting/colour, the use of processes and materials and problem solving. All aspects of the programme are informed by an integrated research process, which includes Learning and Professional Practice and Visual Culture. Included here is a sample of images of First Year Art and Design Studies students work from this Academic year. Theresa Mc Kenna Head of First Year Art and Design Studies
first year art & design studies
first year art & design studies
004–005
first year art & design studies
first year art & design studies staffing list
head of first year art & design studies Theresa McKenna ANCAD, MA
Orla Langan BDes (Hons), MSc Fiona McAndrew BDes (Hons)
academic staffing Chloe Brennan BA (Hons) PG Dip
Kirsty McGhie BA (Hons), PGFA, MA
Eamon Connors ANCAD
Logan Mc Lain BA (Hons), MA
Julie Connellan BDes (Hons), MA
Marc Reilly BA (Hons), MA
Mary Cullen BA (Hons), MA
Sarah Ross ANCAD, BDes (Hons), MA
Yvonne Cullivan N.Dip, BA (Hons), MSc
David Timmons BA (Hons), MA
Mary A. Fitzgerald BA (Hons), MA
John Waid BA (Hons), Adv. Dip. ATD
Feargal Fitzpatrick ANCAD, BDes (Hons), MPhil
Technical Staffing Aonghus Fallon FETAC Printing and Film
Taffina Flood ANCAD, BA (Hons), MA Bob Grey BDes (Hons)
Seán Kelleghan Dip. Fine Art, BFA Aisling Mc Loughlin BA (Hons)
Elaine Griffin BDes (Hons), MA
Siobhan O’Rourke
Clare Jordan BDes (Hons), MA
administrative staffing Patricia McDonnell
Kristina Huxley BFA (Hons), MA
first year art & design studies: staffing list
006–007
design
foreword: design
21st century design is a global phenomenon; competition for work today transcends physical, national and cultural borders, and an increasingly challenging economic environment means that designers as-well-as the industries they work for/with/within have to offer far more in terms of expertise than they did in the last century. Huge technological advances in information, computing and manufacturing processes offer enormous opportunities to designers. This year our degree show seeks to exhibit not just the beautiful, provocative and intelligent final designs, but also explore the robust research and development process that brought them to reality. It aims to reveal how designers observe people, ask questions, search for information, make and test ideas, and ultimately generate societal solutions to manifest problems. Fundamentally, it explores how design can help people live in a more sustainable and enjoyable way, fostering new employment opportunities by embedding design into business and daily life.
Our show this year adopts a brand new format and display system – designed by Sam Russell (Head of Product Design) – which seeks to display work in an integrated manner that deliberately blurs the boundaries between disciplines, reflecting the reality of 21st century design. We are also proud to unveil a newly designed bespoke NCAD font, created by Conor Clarke (Head of Visual Communication) and his design team, which draws upon our campus’ heritage and is named ‘Bill’ after our former Head of Visual Communication, Bill Bolger (1938-2013). Enjoy the show. Professor Alex Milton Head of Faculty of Design
The Faculty of Design encompasses Ceramics, Glass, Jewellery and Metalwork, Fashion Design, Textile and Surface Design, Textile Art and Artefact, Industrial and Product Design, Medical Device Design and Visual Communication. This diverse range of disciplines combines to create a dynamic design culture and interdisciplinary discourse that thrives on new ideas, new ways of doing things and new areas of exploration.
design: foreword
008–009
design faculty staffing list
head of faculty of design Professor Alex Milton BA (Hons), MA, PG Cert, MIDI, FRSA administrative staffing David Bramley head of ceramics, glass, jewellery & metalwork head of design innovation & commercialisation
technical staffing Anthony Carey BDes (Hons) Michael Duhan Sinead Glynn BDes (Hons), MA Brian Kehoe MA
Derek McGarry BA (Hons), MA, MFA, MIDI
Isabelle Peyrat BA (Hons), MA
academic staffing Julie Connellan BDes (Hons), MA
administrative staffing Breda Culhane
Michael Cunningham ANCAD
designers in residence Annika Berglund BDes (Hons)
Karen Donnellan BDes (Hons), MFA
Chloe Brennan BA (Hons), PG Dip
Elaine Griffin BDes (Hons), MA
Fiona Byrne BA (Hons), MA
Angela O’Kelly BDes (Hons), PG Diploma, MA
Karen Donnellan BDes (Hons), MA
Anthony O’Connor BDes (Hons), MA
Jesse Gunther BA (Hons)
Dr Caroline Madden BA (Hons), MA, PhD
Emer Lynch BA (Hons), MA
Suzannah Vaughan BDes (Hons), MA
Cloddagh Murphy BDes (Hons)
Lisa Young ANCAD, MA
Kate O’Kelly BDes (Hons), MA Sarah Wiegersma BDes (Hons)
design: staffing list
head of fashion & textile design Dr Helen McAllister ANCAD, MA, PhD, MIDI academic staffing Oonagh Benner ANCAD Linda Byrne ANCAD, BDes (Hons), MIDI Andrew Campbell BSc (Hons), MA, PGCE Nigel Cheney BA (Hons), MA
technical staffing Anne Cullen Bernie McCoy BDes (Hons) Olga Tiernan BDes (Hons), MDes administrative staffing Fiona Larkin Mairead McDermott designers in residence Maria Santos Sanchez BDes (Hons)
Clare Conway BDes (Hons) Samantha Corcoran ANCAD, BA (Hons), MFA Sandra Cotter Dip Mary Cullen BA (Hons), MA Clare Daly BA (Hons) Orla Langan BDes (Hons), MSc Cathy Mooney BA (Hons) Rachel Tuffy Dip Arch Tech, BA, MA
design: staffing list
010–011
head of product & industrial design Sam Russell BDes (Hons), MA academic staffing Emma Creighton BDes (Hons), MSc Simon Dennehy BDes (Hons), MA Re Dubhthaigh BA (Hons), MA Marcus Hanratty BDes (Hons), MSc Philip Hamilton BDes (Hons), MA John Higgins BA (Hons) Mark Kelly BDes (Hons), MSc Luan Lawler BDes (Hons), MSc Jonathan Legge BA (Hons), MA Caoimhe Mac Mahon BDes (Hons), MA Fiona McAndrew BDes (Hons) Enda O’Dowd BSc (Hons), MSc
Dr Katharina Pfützner, ANCAD, BDes (Hons), PhD Marcel Twohig BDes (Hons) Derek Vallence BDes (Hons), MSc Ian Walton BDes (Hons) technical staffing Konrad Dechant BDes (Hons) Gerald Nolan ANCAD, BA (Hons) Nick Russell BDes (Hons) administrative staffing David Bramley designer in residence Kate O’Kelly BDes (Hons), MA head of visual communication Conor Clarke BDes (Hons), MA, MIDI academic staffing Clare Burge BCom, MPhil Dr David Caron ANCAD, MA, PhD, MIDI Dermot Casey BSc, MBA Maeve Clancy BA (Hons)
design: staffing list
Tara Clarke BA (Hons)
Ciarán O’Gaora BDes (Hons)
Noelle Cooper BA (Hons)
Rob O’Reilly BDes (Hons)
Emma Creighton BDes (Hons), MSc
David Rooney BA (Hons)
Brendon Deacy BA (Hons), MA, MIDI
Steve Simpson
Ian Doherty
Matt Thompson BDes (Hons), MFA
Peter Evers MFA
Ed McGinley ANCAD, MA, MIDI
Aiden Grenelle Scotech HDip
Pat Mooney ANCAD, MA
Conor Horgan
technical staffing Sean Sills C&G
Paul Hughes BA (Hons) Suzanne Martin BA (Hons) Gerry McCloskey Caoimhe McMahon BDes (Hons), MSc Tom Meenaghan Dip
administrative staffing Fiona Hodge BSc (Hons) designers in residence Jamie Murphy BDes (Hons), MDes Shane Kenna BDes (Hons)
Hamish Muir
Kathi Burke BDes (Hons)
Conor Nolan BDes (Hons)
Bobby Tannam BA (Hons)
Conor O’Boyle BDes (Hons), MSc Anthony O’Flynn BDes (Hons)
design: staffing list
012–013
CATHY BURKE cathyburkeart@gmail.com cathyburkeart@wix.com/cathyburke
PROJECT TITLE Bryum x pala Series DESCRIPTION Ceramic PHOTOGRAPHED BY Damien Maddock STATEMENT Inspired by life cycles in nature and the similarities found in both plant and horticultural tool forms, the work explores a morphing of these elements. This series of pieces reflects the cyclical parallels found in mosses, lichens and corroded, well-used garden tools.
design: ceramics
CAROLINE BYRNE caroline.byrne@ymail.com www.carolinebyrne.blogspot.com
PROJECT TITLE Quiet Company DESCRIPTION Ceramic Mixed Media Installation PHOTOGRAPHED BY Damien Maddock STATEMENT These bones are traces of people who influence us; family, friends and ancestors. They form a nurturing nest environment, a collection of who we believe we are. Experience has worn cavities into certain bones revealing delicate internal structures. Some are rugged, suggesting the strength of our encounters with other people.
design: ceramics
014–015
Isolde Clynes isoldeclynes@hotmail.com www.isoldeclynes.blogspot.ie
PROJECT TITLE Traces DESCRIPTION Porcelain sculptures PHOTOGRAPHED BY Damien Maddock STATEMENT This work investigates how memories become indelible marks on our possessions. Clothing physically gathers memories of a person’s experiences through staining, fraying and becoming worn. Using worn, layered forms as a metaphor, these abstracted sculptures explore the way that material things can become saturated with personal experiences and memories.
design: ceramics
Etaoin O’Reilly etaoinoreilly46@hotmail.com www.etaoinoreilly46.wix.com/etaoin
PROJECT TITLE Buggaplants DESCRIPTION Ceramic, 49cm height x 33cm width x 30cm depth PHOTOGRAPHED BY Damien Maddock STATEMENT The natural environment contributes both beauty and healing to our lives, but there is also a darker, and more unforgiving side to nature that is constantly looming and can attack at any time. This work is an exploration of the complex relationship between the positive and the negative aspects of the natural world.
design: ceramics
016–017
GWYNETH GRACE gracegwyn@gmail.com 087 678 0480
PROJECT TITLE Torc an Phortaigh DESCRIPTION Pate de verre fused glass PHOTOGRAPHED BY Damien Maddock STATEMENT My inspiration comes from the biodiversity of the ecosystem supported by our boglands. Growing sphagnum aids the restoration of bogland that has been degraded and destroyed through cutting, drainage and afforestation. I see connections between the fragility of the medium of glass and the delicate state of our boglands.
design: glass
SADHBH MOWLDS sadhbhmowlds@hotmail.com 087 232 3131
PROJECT TITLE Na Daoine Maithe DESCRIPTION Blown, enamelled glass; dimensions varied PHOTOGRAPHED BY Damien Maddock STATEMENT Once upon a time, Irish fairies or Sidhe as they were commonly known, were widely believed to be malevolent, capricious creatures who were feared and respected throughout the country. This work concentrates on guiding the audience into the cruel, bizarre and often severe fairy stories of forgotten Irish heritage.
design: glass
018–019
Mags O Dea mags_odea@eircom.net 086 851 8188
PROJECT TITLE Fine Balance DIMENSIONS 23 x 45 x 9cm PHOTOGRAPHED BY Damien Madden STATEMENT My interest lies in the interplay between the disintegration of the body and how the mind can still retain its mobility, despite the natural ageing process. This work examines this fine balance between these opposing characteristics.
design: glass
LORNA BOYLE lorna_boyle@msn.com www.lornaboyle.carbonmade.com 087 696 6399
design: jewellery & metalwork
PROJECT TITLE Traces DESCRIPTION Gold and silver electroformed rings STATEMENT My work makes precious the overlooked spaces of our urban landscape. I focus on cracks in pavements and walls, recreating the negative spaces and treating the new solid pieces as if precious stones. I combine these with objects I find as I explore the city to make wearable jewellery pieces.
020–021
JAKI COFFEY jakicoffey@gmail.com www.jakicoffey.com www.facebook.com/ jakicoffeydesignermaker 087 643 7544
design: jewellery & metalwork
PROJECT TITLE Lust in found DESCRIPTION Skip brooch with found objects – powder coated copper, steel, magnets and found objects PHOTOGRAPHED BY Damien Maddock STATEMENT Colour, found objects and narrative engage me. I enjoy exploring these themes through design which lends a playful aspect to my wearable pieces. Detachable elements in the work allow for interaction. This encourages the idea of wearer as curator.
LIZ LEVEY lizlevey@yahoo.ie www. lizlevey.com 087 282 0998
PROJECT TITLE Connection, Interaction & Support DESCRIPTION Nickel silver and patinated copper CAD/CAM waterjet cut and hand formed PHOTOGRAPHED BY Damien Maddock STATEMENT Every day... My work is a celebration of living. Sculptural forms describing vulnerability and strength... Managing the everyday... Each separate yet connected, One part supporting the other. Appreciating the ordinary...yet Leaving space for the extraordinary. Using 1.5mm copper and nickel-silver for versatility and character. Black symbolising strength, silver the passage of time.
design: jewellery & metalwork
022–023
GILLIAN LYNCH www.facebook.com/ GillianLynchDesignerMaker 086 392 6647
design: jewellery & metalwork
PROJECT TITLE New Wave DESCRIPTION Brooches, 3-D Printed Hand Dyed Nylon, Stainless Steel PHOTOGRAPHED BY Damien Maddock STATEMENT I create jewellery using a combination of traditional techniques and the use of new technologies. My pieces focus on a variety of material outcomes – silver, hand dyed 3-D printed nylon and metal compounds. Inspiration is derived from visible force in nature such as coastal erosion and tidal markings.
REBECCA MADDOCK www.rebeccamaddock.com rebecca.maddock@hotmail.com www.facebook.com/ RebeccaMaddockDesigns
design: jewellery & metalwork
PROJECT TITLE This is Knot Jewellery DESCRIPTION Human hair, silver and steel wire PHOTOGRAPHED BY Damien Maddock STATEMENT My sculptural jewellery combines human hair and metal. The concept centres around the change hair undergoes when shed from the body; from valued for its beauty to vile and discarded. The viewer and wearer are intended to feel both delight and discomfort when wearing the work.
024–025
CECILIA MOORE www.ceciliamoore.ie
PROJECT TITLE Milk Guard from the Teal Set DESCRIPTION Plastic Mudguard, nickel milk jug PHOTOGRAPHED BY Damien Maddock
STATEMENT These pieces are formed from unwanted metal and found objects that are deconstructed and reworked using silversmithing techniques. The dents and scratches of their previous lives remain, adding to their individual character. I deliberately avoid new materials by rethinking the discarded to reveal the innate beauty in a mismatched reassembly.
design: jewellery & metalwork
MARIA PARSONS miaparsons@gmail.com www.facebook.com/pages/ Maria-Parsons-DesignManifesto/687339304663678 085 114 0140
design: jewellery & metalwork
PROJECT TITLE Shaker DESCRIPTION Acrylic, brass PHOTOGRAPHED BY Damien Maddock STATEMENT Body Specs The shapes and reflective nature of my work are derived from my love of eyewear. I have endeavoured to draw on these qualities in a playful way. Some of the pieces are articulated, while others contain magnification, a gentle nod to their origin.
026–027
CARA STURGESS annsturgess@outlook.com 087 207 0700
PROJECT TITLE Ciall (Wisdom) DESCRIPTION Brooches, 3D printed Nickel Stainless Steel PHOTOGRAPHED BY Damien Maddock STATEMENT I design and make wearable sculptural objects which are inspired by the traditional tales ‘The Salmon of Knowledge’. I combine 3d printing, electroforming, etching and wax casting in copper, stainless steel nickel and silver to produce brooches, neckpieces and hand ornaments.
design: jewellery & metalwork
CLARE TARLETON claretarleton@gmail.com
PROJECT TITLE Silhouette DESCRIPTION Acrylic, Silver STATEMENT My jewellery designs are inspired by architecture in Dublin City most specifically the Georgian Quarter. Using digital technology, I explore form and geometry through laser cut and thermal formed perspex designs.
design: jewellery & metalwork
028–029
FIONA WOOD fionacurranwood@gmail.com 087 778 8984
PROJECT TITLE Babel 2014 DESCRIPTION Brooch: 15 x 3 x 3cm Forged, etched oxidised copper and steel PHOTOGRAPHED BY Damien Maddock STATEMENT Drawing inspiration from architectural forms Babel aims to create a physical representation of language as object. A visual noise, permeating our lives, from signs and slogans, vying for our attention. Babel tempts the viewer with potential meaning, ultimately blocking full understanding of the text, hinting at order pulled into disorder.
design: jewellery & metalwork
Andrew Bell ajbellirl@gmail.com www.behance.net/andrewbell
PROJECT TITLE Wrap. Clench. Clutch. Consume PHOTOGRAPHED BY Philip White STATEMENT The collection observes both the real and intangible relationship between the Woman and her handbag. Garments draw the physical link between the bag, the body and the body language of the wearer. Silhouettes are all-consuming in their portrayal of the overpowering relationship between the fashion accessory and the self.
design: fashion
030–031
Tish Carroll tish.carroll.09@gmail.com 087 190 2939
PROJECT TITLE Mother Says PHOTOGRAPHED BY Philip White STATEMENT Children's proportions and posture have been the main driving force for the creation of a collection which contrasts structural tailored elements with voluminous lightweight fabrics.
design: fashion
Elaine Cawley elaine_cawley@hotmail.com
PROJECT TITLE Autoscopy PHOTOGRAPHED BY Philip White STATEMENT Autoscopy – seeing one’s own body from an elevated and distanced visuo-spatial perspective. Inspired by the work of photographer Francesca Woodman, this collection is an exploration of self representation against the external environment through clothing. Woodman chooses herself as the subject in her portraits, sometimes manipulating her body physically or perceptively as a statement of taking control of her self as subject and not object.
design: fashion
032–033
AimĂŠe Chan aimeekiwichan@gmail.com
PROJECT TITLE Kastom Dressing Blong Yumi PHOTOGRAPHED BY Philip White STATEMENT The issue of cultural appropriation versus cultural misappropriation comes to the fore; what constitutes as acceptable in today’s society when we observe the globalisation of indigenous culture in contemporary fashion? A study of the appropriator and the appropriated is conducted as social politics, multiculturalism and cultural identity are explored.
design: fashion
Gwen Cunningham gwencun@yahoo.co.uk
PROJECT TITLE Van Alles is Weer Waardeloos PHOTOGRAPHED BY Philip White STATEMENT Documenting the story of a garment from inception to demise, from designer to wearer. Mapping the lived-space between the retail rail and bedroom floor. Clean, crisp, sterile. Crumpled, stained, over-loved. Intent vs. trace. Order vs. chaos. Everything is worthless again.
design: fashion
034–035
Alice Doherty alicedohertystudent@gmail.com
PROJECT TITLE Allusive Contrasts PHOTOGRAPHED BY Philip White STATEMENT Contrasts make for dramatic statements. Creating narrative by contrasting light with dark, striking structures, flowing prints and elaborate textures.
design: fashion
Rachel Duke rach.dukey@hotmail.com
PROJECT TITLE Untitled PHOTOGRAPHED BY Philip White STATEMENT In addressing the excessive work and physical labour in our cultural memory, my design is process driven and ‘overworked’. Through combining experimental construction with reworked hand craft techniques a collection of strong, weighted silhouettes is created.
design: fashion
036–037
Amie Egan amieegan@gmail.com
PROJECT TITLE Gut Instinct PHOTOGRAPHED BY Philip White STATEMENT Necessity serves as motivation for creativity. How we produce and live in our clothes is determined by our surroundings. My collection is a response to our drastically changing world and climate.
design: fashion
Naoise Farrell naoisef1@hotmail.com 085 153 3007
PROJECT TITLE Basted Estate PHOTOGRAPHED BY Philip White STATEMENT This collection is a response to the overt consumerism of the celtic tiger years,and to the liberal nature of contemporary dance. Garments reference classic menswear, with working illustrations printed on the exterior, exposing the veracity of the process.
design: fashion
038–039
Anna Gyo anna_gyo@hotmail.com 087 787 4677
design: fashion
PROJECT TITLE Lackaghmore STATEMENT Lackaghmore my home in Donegal is the inspiration for my collection. The visual contrast between masculine and feminine will be explored through silhouette and fabrication. My collection embodies the strength, dynamics and power of a family of women and their sense of place.
Audrey Kennealy audreykennealy@hotmail.com
PROJECT TITLE Reverie STATEMENT Body forms distorting prints and knit to create illusions through movement of the wearer. A colour story inspired by personal imagery of Dublin’s architecture.
design: fashion
040–041
Ciara Lennon ciara.lennon007@gmail.com
PROJECT TITLE Untitled PHOTOGRAPHED BY Philip White STATEMENT Exploring urban environments to inspire a casual, fresh menswear collection using contrasting fabrics for Spring/Summer.
design: fashion
Caoimhe Mac Neice caoimhemacneice@hotmail.com
PROJECT TITLE Warp PHOTOGRAPHED BY Philip White STATEMENT Exploring the concept of a misleading online persona, a person reduced to pixels or squares on a screen. Garments are reduced to these pixels or squares, which are warped and distorted by the body.
design: fashion
042–043
Hannah Choy O’Byrne hannahchoy@hotmail.com www.hannahchoy.wix.com/ hannahchoy
PROJECT TITLE Cabinet of Curiosities STATEMENT A glance into the world of a collector and their relationship with their collection. Blending reality with obsession through fabric manipulation and dramatic shapes.
design: fashion
Lily Spain lily.spain@hotmail.com PROJECT TITLE New Tradition PHOTOGRAPHED BY Philip White STATEMENT My collection is based on the contrast between a world that has become obsessed by plastics and synthetics in its quest for perfection and the earthy, raw traditional elements that are being left behind as a result.
design: fashion
044–045
Gary Bainton garybaintondesign@gmail.com 085 711 3948
PROJECT TITLE Sense STATEMENT Why do people protect their eyes from the sun but forget to protect their ears from sound? Over-exposure to sound is becoming a major problem in everyday life. This project is aimed at changing how people protect their hearing by enabling the user to select what they want to hear not what they have to hear. -
design: industrial design
RYAN BAKER www.rynbakr.tumblr.com 085 163 5408
PROJECT TITLE Aoede DESCRIPTION Making digital music more authentic. Tangibility and atmosphere mediating content. STATEMENT When music moved behind our screens, a consequential lack of a connection was created. To reestablish this relationship, Aoede bridges our digital content to the ambient atmosphere it’s situated in. Music preferences alter throughout the day and through environments, Aoede recognises and reacts with these changes along with our tangible interactions with it.
design: industrial design
046–047
Niamh Burke niamhbu@gmail.com 087 278 5288
PROJECT TITLE Eco-terial DESCRIPTION An Exploration into Sustainable Materials STATEMENT Human progress has come at a cost to our planet. We continue to consume natural resources at an unsustainable rate and pollute our environment with detritus. This project explores the use of readily available, renewable, plant derived materials and of how such materials influence form and process.
design: industrial design
Lovisa Cosgrave lovisacosgrave@gmail.com 086 176 6995
PROJECT TITLE You & Me, Story-telling Together DESCRIPTION The Re-Mix Bench for the Public Realm STATEMENT This project aims to give individuals in a community the opportunity to take ownership over public space. The bench is a platform for community expression, giving an opportunity to reshape public space. It does so by utilizing story-telling as a way to bring people together and create shared identity.
design: industrial design
048–049
EAMONN COTTER eamonncotter48@gmail.com 087 967 4541
design: industrial design
PROJECT TITLE Eaco STATEMENT As more and more decide to commute via public transport, the levels of social interaction between strangers often falls as a result. The Eaco is a bracelet device that acts as an extension to your smartphone – connecting those that want to talk with others on their commute, by a subtle indication by vibration.
PAT DARCY hello@patdarcydesign.com www.patdarcydesign.com 087 993 2520
design: industrial design
PROJECT TITLE Urbench DESCRIPTION Interactive public furniture STATEMENT Something has been lost within our “public spaces”, we have the right to be in them, but not to be a part of them. Urbench focuses on creating interactivity in public spaces, establishing a sense of ownership within a community.
050–051
JAMES DONNELLAN jamesdonnellan1@gmail.com www.cargocollective.com/ makesomeheadspace 087 229 1719
design: industrial design
PROJECT TITLE Headspace DESCRIPTION Creating space to think STATEMENT What makes the seemingly random patterns in nature so beneficial to our health? What will be the detriments of the mobile addicted millennial generation? Is technology creating a mediated solitary virtual reality, a disparate community, and shortened perspectives? Headspace deals with these issues and attempts to facilitate ‘soft fascination’ in the built up urban environment.
Nikki Dunne nikki.dunne@hotmail.com 087 977 9255
PROJECT TITLE The Toolbus DESCRIPTION Driving gender equality into schools STATEMENT The Toolbus engages primary school children in STEAM (Science, Technology, Engineering, Arts, Maths) based learning. It aims to encourage children to become makers and problem solvers while giving girls an opportunity to experience male dominated subjects at a young age, thus attempting to break down negative gender stereotypes.
design: industrial design
052–053
PAUL DUNNE pauldunnedesign@gmail.com www.shapeways.com/shops/ blindesign 085 150 8845
design: industrial design
PROJECT TITLE Blindesign DESCRIPTION Empowering the blind through 3d-printing STATEMENT This project uses 3D printing to empower the visually impaired and blind through a collaborative process of form creation and product design. These products are further developed through online communities and made available for sale through 3D printing marketplaces. Profits are used to help fund essential services that help those who collaborated.
KEVIN GLYNN kevinglynndesign@gmail.com www.behance.net/kevinglynn 087 293 1155
design: industrial design
PROJECT TITLE imeall/brink DESCRIPTION A media content managing tool STATEMENT In the always ‘connected’ world there is a deluge of information, much of which is presented in too similar a format. Important moments are drowned in with floods of banality. My product helps us become aware of the weight of our digital interactions and develops added sensory filters in order to manage it.
054–055
JENNIFER GROAKE groarkejennifer@gmail.com www.behance.net/jgroarke 086 379 9283
PROJECT TITLE Frenetics Genetics DESCRIPTION Awareness and accessibility of biotechnology STATEMENT Biotechnology is a part of our everyday lives through food, fuels and medicine. The aim of my project is to create a fun approach for children to learn about biotechnology and some of the practical applications of it. Frenetics Genetics enables children to engage in biotechnology using accessible household items.
design: industrial design
Paul Hallinan hallinan_paul@yahoo.ie www.paulhallinan.com 087 250 7058
design: industrial design
PROJECT TITLE Kishtin DESCRIPTION A kitchen utensil storage system STATEMENT Kishtin is a wall-mounted modular kitchen utensil storage system. The modular design is scalable, re-configurable and adaptable, depending on the users’ needs.
056–057
MARSHA IVORY marshaivory1@hotmail.com 087 981 3898
PROJECT TITLE KavrĂş DESCRIPTION Sea safety system STATEMENT Increasingly in water sports, participants are searching for isolated locations with extreme and potentially dangerous weather conditions. This puts them out of reach with current sea rescue systems. This concept allows you to safely deposit your keys or phone in return for the knowledge that someone knows your location, should you seek assistance.
design: industrial design
HYE SEONG JEON hessjeon@gmail.com
PROJECT TITLE Mortal Ingredient: Post-mortem designs for the living DESCRIPTION Video with concept product STATEMENT This project aims to provoke a review of conventional perspectives on death. A traditional outlook on post-mortem rituals and related services is challenged by a device which utilises cremated remains of a human being to produce fireworks, an impermanent commodity.
design: industrial design
058–059
JESS LOCKHART jesslockhart1@gmail.com www.jessicalockhart.com 086 103 6646
design: industrial design
PROJECT TITLE Fail > Learn > Innovate DESCRIPTION A Junior Cycle Short Course STATEMENT The Irish education system leaves little wiggle room for creativity
or imagination. In school, nobody wants to be wrong. Yet innovation hinges on the courage of individuals to risk failure. By assessing students on their ability to learn from mistakes, this project aims to foster resilience in the face of adversity.
TERRY MACDERMOTT terrymac@outlook.ie 089 424 1104
design: industrial design
PROJECT TITLE My Story of My Things STATEMENT My Story of My Things is a set of tools which empowers you to overcome the negative effects of Inadequacy Marketing, through an involving narrative.
060–061
KIERON MEN kieronjeanlemen@gmail.com www.behance.net/kieronlemen #dublinisyourplayground 087 223 4381
PROJECT TITLE Dublin is your playground DESCRIPTION Interactive street signs STATEMENT The aim of this project is to inspire people to be more physically active in their day-to-day lives. A series of signs placed around Dublin City will encourage people to interact, making them physically move, jump and play. These subtle interactions will hopefully give the user a positive attitude about fitness.
design: industrial design
Patrick Mitchell pmitchell14@hotmail.com 086 065 6481
design: industrial design
PROJECT TITLE Producpod STATEMENT People waste hours of their day commuting. Long commutes can have a negative impact on a person’s wellbeing. What if time could be spent in a space that allows for productivity or relaxation? By creating a movable space with no driver this project aims to explore this question.
062–063
PAUL MORAN paulmoran.id@gmail.com www.cargocollective.com/pauljohn 087 946 0250
design: industrial design
PROJECT TITLE Transportable Living: Work Rest & Play STATEMENT An easily transportable box of objects for work(ing), rest(ing) and play(ing) in new places. It is aimed at young professionals and college students who live almost nomadic lifestyles, changing accommodation frequently. Everything unfolds and slots together simply, with little assembly required. Transportable Living allows you to make a home wherever you go.
Tara O’Reilly taraoreilly91@gmail.com 086 050 1077
design: industrial design
PROJECT TITLE Connecty STATEMENT In the digital era, we are sacrificing real conversations for mere connection. Taking the Irish custom of the “cuppa tae,” this speculative piece emphasises the importance of immersive, complex, and awkward conversations. These artefacts demand mutual thought and reflection, provoking awareness of the physicality of the other person, our points of contact and how we relate.
064–065
NIAMH PURCELL niamhpurcell92@gmail.com 087 756 8585
design: industrial design
PROJECT TITLE Hypoallergenic Dining STATEMENT Allergies are a growing feature of the 21st century. Hypoallergenic Dining is set within a ‘what if?’ scenario that explores the concept that in the future everyone will have a dietary requirement. This project illustrates a projection of what our relationship with food might be forced to become like.
STEPHEN QUINN productdesignersq@gmail.com www.behance.net/stephenpquinn 086 849 4167
PROJECT TITLE The Continuum Campaign DESCRIPTION Glimpsing the continuum of mental health STATEMENT This campaign aims to reduce mental health stigma throughout society with the concept that we all occupy a place on a mental health continuum. The communication of this concept through product design is intended to create society-wide solidarity with those more profoundly affected by mental health issues.
design: industrial design
066–067
KATE SHEPPARD sheppard.kate1@gmail.com www.linkedin.com/pub/ kate-sheppard/42/54/557 087 948 6558
design: industrial design
PROJECT TITLE MOTTO DESCRIPTION Smart mirror supported by app STATEMENT MOTTO enables the user to choose quotes from their social media feeds and profiles through the app and displays these on the MOTTO mirror for reflection. It aims to tackle problems associated with low self-esteem, and encourage young girls to focus on the positive content from their media streams.
AOIFE CHALLIS aoifechallis@gmail.com www.aoifechallis.com 085 755 3236
design: textile art & artefact
PROJECT TITLE Ubiquity of Concrete, Fragility of Place STATEMENT I work with a variety of materials and techniques and have a process lead approach which encompasses both the art & design elements of my practice. I like to take inspiration from my immediate environment, in this case urban Dublin, and ideas often develop from a curiosity with the seemingly mundane.
068–069
Jade Donovan jade120389@msn.com www.cargocollective.com/ jadedonovan 087 756 8587
design: textile art & artefact
PROJECT TITLE Just Breathe... DESCRIPTION A series of illustrations + poetry. A collection of corresponding soft transitional objects. STATEMENT My work explores the notion of a transitional object through collage and my own poetry in which I have conjured up characters whom have experienced some form of anxiety. I have constructed a series of work which aims to bridge a gap between illustration, soft sculpture and contemporary plush toy design aimed at both adults and children.
ILONA DORREPAAL idorrepaal@gmail.com www.idorrepaal.wix.com/ilona 087 656 8414
design: textile art & artefact
PROJECT TITLE Not Just For Christmas STATEMENT My final series of work explores how colour ‘drips off the end of a needle every bit as richly as from a pencil or paintbrush’. Though denied a cat by my parents I’ve attempted through illustrated works and the medium of embroidery to imbue ‘my own’ cat with life to tell my story.
070–071
CLAIRE FARRELL clairefarrell91@yahoo.co.uk 085 753 1372
PROJECT TITLE Deterioration DESCRIPTION Cracked waxed on marbled paper STATEMENT Most people experience trauma of some kind at least once in their lifetime, before long guilt, anxiety, and depression set in. My work aims not to avoid the subject matter but to show the fragility and the beauty that remains after the damage has taken place. All is not lost.
design: textile art & artefact
Dearbhle Gough dearbhle@hotmail.com www.behance.net/dearbhle_gough www.dearbhlegoughdesigns.com 086 100 3944
design: textile art & artefact
PROJECT TITLE Unstable STATEMENT My source of inspiration comes from found family history and discarded treasures. I like to find and collect objects that have had a past life and recycle them to something new and original, juxtaposing the worn and dirty surfaces and setting them in modern interior spaces. Knitting, multihead embroidery and digital print are three main processes I incorporate into my work.
072–073
EAMONN MC GILL e.m.gill@hotmail.com www.eamonnmcgill.com 083 166 8152
design: textile art & artefact
PROJECT TITLE New Century Godiva STATEMENT My final piece of work will be exploring the iconic story of Lady Godiva. Taking elements of her story such as power and innocence and combining it with the taboos of nudity and voyeurism. Through the medium of image creation, I have recreated the story in a new context.
MUIREANN MCMENAMY muireannmcmenamy@gmail.com 086 088 6582
design: textile art & artefact
PROJECT TITLE The Mole People STATEMENT A series of soft material puppets developed from various social and cultural manifestations of 'The Mole Man'.
074–075
MORGANNA MURPHY morganna.m@hotmail.com www.morganna-m.wix.com/ morganna-murphy
PROJECT TITLE Hold Me STATEMENT 'This is clearly just the beginning for Morganna experimenting with a range of textiles-based craft from embroidery to fabric collaging to knitting and yet even in these early stages, her work feels like the seeds have been planted for a unique point of view in creative textiles design.' Susie Bubble
design: textile art & artefact
FRANCESCA O’BRIEN francesca.obrien@hotmail.com www.behance.net/francescaobrien
PROJECT TITLE Creative Survival |krē'ātiv| |s r'vīv l| STATEMENT noun Responding to unforeseeable occurrences in the event of an emergency situation to remain alive. Pertains to emotional and physical wellbeing and is often a result of employing intuition and optimism in the bleakest times. Surviving a catastrophe as a result of taking creative measures by thinking outside the guidebook.
design: textile art & artefact
076–077
GERARDINE O’DONOHOE xgerardinex@gmail.com 083 304 8053
design: textile art & artefact
PROJECT TITLE Invisible Self
EMMA PACITTI emapacitti@yahoo.ie 086 081 3637
design: textile art & artefact
PROJECT TITLE Walking through the Enchanted Forest
078–079
MARTIN FOX PHILLIPS m-pin91@hotmail.com 083 003 2330
design: textile art & artefact
PROJECT TITLE Disgust STATEMENT My work is primarily about the conflict between basic instinctive responses and actual knowledge of a subject within the domain of ‘disgust’; our strongest emotion. We feel drawn to look at things like death because it is a primordial instinct that prepares us to deal with such issues.
DARRAGH REYNOLDS darragh-reynolds@hotmail.com 087 791 9865
PROJECT TITLE From Transcendence to the Abyss – An exploration of the semblance field. DESCRIPTION The world’s premier Semblance Engineer. Conceptual/Perceptual Designer. Maker. Printer. STATEMENT Darragh’s keen interest in film and the role of costume, props and set are a means of creating identity and narrative to his concepts of alternate worlds, underpinned by Sci-Fi/Fantasy. Exploring three potential characters & a material collection, he showcases specific strengths and approaches including traditional techniques, digital design and construction in the forming of artefacts for frame adornment.
design: textile art & artefact
080–081
SOPHIE WALLACE sophiewallacedesigns@gmail.com www.sophie-wallace.squarespace.com 087 933 1012
design: textile art & artefact
PROJECT TITLE In Transition STATEMENT My work explores the process of transformation, focusing on the transition of a substance from one state into another. By deconstructing and assembling everyday plastic objects using various textile processes I create sculptural jewellery suitable for use within fashion editorial, window display or for a person wanting to make a statement.
DANIELLE BROGAN daniellebrogan1@hotmail.co.uk www.behance.net./danibrogan 087 755 3416
design: textile surface design
PROJECT TITLE Playing with Colour
082–083
LEAH CREAVEN leahcreaven@gmail.com www.behance.net/leahcreaven 087 766 2001
design: textile surface design
PROJECT TITLE Reflecting on imperfections
KATIE HESSION katiehession1991@gmail.com www.behance.net/katiehession www.cargocollective.com/ katiehession 085 752 3781
design: textile surface design
PROJECT TITLE Inside/Out STATEMENT A play on the concepts of the inner and the outer self.
084–085
REBECCA MAY beccamay@live.ie www.behance.net/beccamay4c3e 086 199 7022
design: textile surface design
PROJECT TITLE Finscéal na Talún DESCRIPTION Dining Ware Collection. Inspired by Irish Folk Tales
ORLA MCCARTHY orlamccar@gmail.com www.behance.net/orlamccarthy 087 411 8600
design: textile surface design
PROJECT TITLE Of Earth and Stone DESCRIPTION Printed Textiles for Interiors
086–087
VIVIENNE MC EVOY viviennemcevoy@gmail.com 087 122 1425
design: textile surface design
PROJECT TITLE Vintage Abstraction DESCRIPTION Printed Textiles – Womenswear Spring/Summer 2015
LINDA MOLONEY linda.moloney@hotmail.com www.behance.net/lindamoloneyc741 087 253 9503
PROJECT TITLE Movement. Expression. Abstraction
design: textile surface design
088–089
Claire O' Halloran cclaireoh3@gmail.com www.behance.net/cclaireoh3 085 831 5807
PROJECT TITLE Beyond Materials DESCRIPTION (left) 'Cracked' 3d print effect on fabric (right) 'Petri dish' Laser Etched Wood STATEMENT This project focuses on the living organism yeast which by nature grows and creates uncontrollable patterns, colour and textures that are organic and unique. Surfaces are explored and utilised within processes that are unique to material.
design: textile surface design
Katy Quinlan katyquinlan@gmail.com www.behance.net/KatyQuinlan 087 769 2443
design: textile surface design
PROJECT TITLE Iridescent Opulence STATEMENT My Collection is infused with the special qualities found within surface and texture. The collection is about translating the richness of the iridescent visual source of fish scales, and rock weathered by the elements, onto luxurious fabrics. Metallic tones are used to capture the moody sophistication of the theme.
090–091
SERENA SCULLY serenascully@gmail.com www.behance.net/serenascully 087 217 3381
design: textile surface design
PROJECT TITLE Abeille DESCRIPTION Printed Textiles for Womenswear
KATIE WARD ktm.ward@gmail.com PROJECT TITLE Hundreds & Thousands www.behance.net/katieward1 087 774 4129 STATEMENT A bright and playful collection inspired by Oriental ceramics and Impressionist painting. The prints have an eclectic and excessive aesthetic. They explore the concept of Trompe L’oeil; creating 2d qualities through the use of gestural painting, collage and experimental photography of flowers and found objects.
design: textile surface design
092–093
KIRSTYN BYRNE kirstynbyrne@eircom.net www.kirstynbyrne.ie 087 280 1633
design: visual communication
PROJECT TITLE Amateur Swami DESCRIPTION Identity and promotional campaign STATEMENT Amateur Swami is a campaign aimed at students to inspire them to eat well. It uses outlets already favoured by young people: Instagram, the web, and promotional freebies, to make healthy eating seem less daunting and more appealing.
GUY CRESSWELL guy.cresswell91@gmail.com www.cargocollective.com/ guycresswell 086 248 0473
PROJECT TITLE The Peripatetics, a Club of Wandering Gentlemen DESCRIPTION Letterpress-printed book, linocut illustrations STATEMENT The Peripatetics Club is a society of Gentlemen, who have met once a month for the past 127 years, to socialise, converse, and consume fine food and drink. I have compiled a selection of extracts from their handwritten Minute books, ranging from 1887 to 2014, and accompanied them with linocut illustrations.
design: visual communication
094–095
DAVID DALTON daviddalton77@live.com 086 241 0921
Design: Visual Communication
PROJECT TITLE This is the Life STATEMENT This project identified the possibility to change the deeply entrenched stereotypes associated with homeless people. A purpose-made book, which addresses these issues will be produced and sold to members of the public through an online marketing campaign with all the proceeds directed to homeless charities in Dublin.
EMMETT DOHERTY www.cargocollective.com/ emmettdoherty 086 067 4985
PROJECT TITLE Health in Mind DESCRIPTION Remove stigma surrounding mental health STATEMENT The Health in Mind app creates a simple way to understand what mental health is all about. By creating 7 tips to maintain and improve your mental health in a friendly and lighthearted way. Confidence Compassion Moderation Relationships Social activity Temper Fitness and Health
Design: Visual Communication
096–097
WILLIAM DOHERTY williamdoherty11@gmail.com www.williamdoherty.tumblr.com 087 318 0531
PROJECT TITLE Legacy A reinvention & documentation of tradition DESCRIPTION Typeface, book, documentary and furniture design created from Irish bog STATEMENT The disparity between the once-anticipated social event of Wakes in Irish society and today’s apathy towards death has motivated me to document Irish Wake traditions. Through a reinvention of Irish Wake and Hedge furniture, my design attempts to domesticate and provoke conversations about death in our everyday lives.
Design: Visual Communication
CHRISTOPHER FULLAM hello@chrisfullam.ie www.chrisfullam.ie 085 121 7813
PROJECT TITLE techfuture DESCRIPTION Campaign identity, typeface, publication, motion graphics, web & social media STATEMENT To create a campaign aimed to highlight potential jobcreation within the economy. I developed a cross-medium platform whereby students in secondary school, could obtain information pertaining to the potential career opportunities available in the technology industry.
Design: Visual Communication
098–099
SARA FURLONG hello@mynicename.com www.mynicename.com 087 647 7591
PROJECT TITLE Angst macht den Wolf größer als er ist (Fear Makes the Wolf Bigger than it is – German Proverb) IMAGE CAPTION Illustration from The Button Thief DESCRIPTION Illustrated book, Short Animation, Cut paper Illustration and Puppet STATEMENT My project aims to investigate the obsession and control a fear or phobia creates, and hopes to shed a new light on the topic of fear. Through illustrated narrative I am presenting the objects of my own fears in a new light, demonstrating the close connection between fear and obsession.
Design: Visual Communication
PAUL KINSELLA pmjk91@gmail.com www.behance.net/paul_kinsella 087 673 1409
Design: Visual Communication
PROJECT TITLE Homeful DESCRIPTION Print & Digital STATEMENT Homeful is a campaign to use the formerly ‘homeless’ fan base of Shamrock Rovers F.C. to help those who really are homeless. The sale of the Homeful fanzine aims to create a continuous source of fundraising for homeless charities.
100–101
LISA MCHUGO hello@lisamchugo.com www.lisamchugo.com 087 292 6952
Design: Visual Communication
PROJECT TITLE Happily Ever After DESCRIPTION Fairytales and Children’s Literature STATEMENT My aim was to create a set of tools for children between the ages of eight and ten years old that can develop and expand their reading and vocabulary skills through the medium of fairytale. I aimed to promote reading for pleasure using digital platforms, games and the classic reading experience.
NIAMH MC KEEVER mariesinead@hotmail.com
PROJECT TITLE Seen by All, Owned by One DESCRIPTION Print, Film & Media STATEMENT Style and fashion are words that are used continuously in today's media, however many people have different opinions to what stylish or fashionable means. I wish to show that style goes beyond clothing and is in fact influenced by your lifestyle but also an expressions of oneself.
Design: Visual Communication
102–103
NICOLE MCMAHON nicolefmcmahon@hotmail.com www.cargocollective.com/ nicolemcmahon 087 121 7132
Design: Visual Communication
PROJECT TITLE Key Adult Learning STATEMENT 18% of adults aged 16 – 65 in Ireland struggle with basic literacy skills, this led me to explore the current available resources for adult learners. My work aims to help these students improve their grammar, spelling and reading in an easy and lighthearted way using both digital and printed outcomes.
ClĂodhna Meldon meldonc@gmail.com www.cliomeldon.com
PROJECT TITLE Detach DESCRIPTION Series of books, photography STATEMENT My work reflects upon the neither-here-nor-there experience between adolescence and adulthood. Through interview, photography and typography I aim to provide a flicker of community to this disconnected body of individuals. In order to get to where we are going, we must detach from where we have been.
Design: Visual Communication
104–105
LAURI O’BRIEN lauriobrien1992@gmail.com 087 641 7117
Design: Visual Communication
PROJECT TITLE Updating Prayer STATEMENT My work deals with the traditional values of religion in a modern context. One of the main aspects of religion is the idea of prayer. This project aims to update and modernize the ancient prayers and aesthetic value of the Catholic Church.
NIAMH SHORT niamhshort@campus.ie 086 070 1284
PROJECT TITLE Closets DESCRIPTION Print, digital and web design STATEMENT I’m very interested in sexuality and the notion that you don’t come out once, you have to come out to every person you meet throughout life. I have interviewed various NCAD students about personal experiences, and am organizing their interviews into a journal, which is also available in web format.
Design: Visual Communication
106–107
MICHAEL SLOANE michaelgsloane@ymail.com 086 199 4027
Design: Visual Communication
PROJECT TITLE Design Gym STATEMENT Advertising and branding for an institute where creative, innovative and imaginative thinking is encouraged in children from the ages of 8 to 12 years old, through problem-solving and the exploration of their ideas. The work done in this institute is a supplement to the current education system.
FAY SU FUI TEO sufuiteo@gmail.com 087 063 6338
PROJECT TITLE Branding for Food Memories, worldwide publication DESCRIPTION Publication, Corporate Identity, Photography, Website STATEMENT Food memories has the power to transport you back to another time, place and moment. Food memory is also a cultural mirror. It plays a central role in constructing the culture and identity of a place. The ways in which people eat and cook can reflect the diversity of a city.
Design: Visual Communication
108–109
FIONA SUTTLE fsuttle91@gmail.com cargocollective.com/fionasuttle 087 225 0183
Design: Visual Communication
PROJECT TITLE Generating Happiness Through Writing STATEMENT I hope to help people improve their happiness by making changes to their daily habits. The tools that I provide will enable people to write about past experiences and to make plans for the future. Reflection on their past and future will provide people with a positive outlook on their experiences.
JULIANNA SZABO julianna.szabo@gmail.com www.juliannaszabo.com 087 233 4678
PROJECT TITLE What’s left behind shows who you are Description Cut paper illustration combined with Kinect technology, interactive display, stop motion animation, website and poster campaign. STATEMENT My aim was to render the invisible visible through raising awareness that chewing gum counts as litter. The concept is to show that a simple act of binning the gum makes the city a better place to live in. By combining traditional techniques with modern technology I visualize the diverse qualities of chewing gum.
Design: Visual Communication
110–111
JAMES TIMMONS lauratimmons@eircom.net 087 063 8060
Design: Visual Communication
PROJECT TITLE The Oldest Sci-Fi Story Retold STATEMENT In order to inform modern audiences about the sciencefiction genre I decided to find the oldest work that could be considered either science-fiction or a precursor to it, and adapt and illustrate that story in my own style. I also produced an accompanying development art book.
MICA WARREN micawarren@live.com www.cargocollective.com/micawarren www.cargocollective.com/ makeyourselfcomfortable
Design: Visual Communication
PROJECT TITLE Make Yourself Comfortable DESCRIPTION Mixed Media STATEMENT My aim with this project was to venture beyond the comfort zone of my routine working process and make something that challenged me, constructively. So I built a bench. The Bench was then used as a platform for conversations about the pros and cons of comfort zones.
112–113
education
FOREWORD: Education
Perhaps the most radical act is to teach. Education is essentially an art practice in itself. The processes of art and design embody forms of learning that are at the heart of all true education. That is why the Faculty of Education in NCAD sees its role as helping the processes of learning in all settings, for all ages and circumstances. It is not confined to the teaching of art and design in school classrooms. It is equally concerned with education practices in informal and nonformal settings – in communities, in professional settings, in cultural environments, in homes and in institutions. The work of the faculty encompasses professional development (CPD) work with early childhood and primary school teachers, with second level art and design teachers and with further and higher education professionals. The faculty provides the only MA programme in Socially Engaged Art in the country, uniquely carrying a professional qualification to teach in the FE sector. The faculty is the only centre for doctoral research in art and design education in Ireland. Faculty projects include out-of-school digital education in the centre of Dublin (Future Creators), global education (Ubuntu), and Creative Connections, an EU sponsored project with international partners. The Faculty has recently completed a collaborative participatory art project with SIPTU in the construction of a tapestry to mark the centenary of the 1913 Lockout in Dublin. The Centre for Continuing Education in Art and Design (CEAD) is the only higher education provider of award bearing part-time courses in art and design. We are currently engaged in building a defined pathway from part-time certificates and diplomas to full degree level.
education: foreword
And underpinning all this, the Faculty remains intimately concerned with the initial teacher education of teachers of art and design. We have just completed the first year of our new Joint Honours BA in Education and Fine Art/Design. Next year (2014/15) we commence the first cohort of the new 2-year Professional Masters in Education (PME) for art and design teachers. And in collaboration with our colleagues in TCD, UCD and Marino institute of Education, we plan to introduce a new, innovative collaborative PME across all four colleges to start in 2016. There are exciting plans coming through for radical reform of the junior cycle in schools. We will be ready not only to contribute to but also to shape and lead this new curriculum. To teach is to challenge. To teach is to co-create. Professor Gary Granville Head of Faculty of Education
114–115
Education faculty staffing list
Head of Faculty
 Professor Gary Granville BA, HDipEd, MSc (Ed. Mgmt.), EdD academic staffing Patsey Bodkin ANCAD, H.Dip E.S., H.Dip EP, Dip Catechetics, PTA, M.Ed, DEd Maria Farrell BA, MA Mary Avril Gillan BA, HDE, MA Dervil Jordan Dip Fine Art, MA, PTA Suzanne Martin BA (Hons) NC Isobelle Mullaney B.Ed. (Hons), P.G.Dip. (Ed. St.) P.G.Dip. (Ed.Mgmt.), M.St., PhD Anne-Marie Keaveney ANCAD, BA (Hons), MLitt Fiona King BA, HDE, MA Tony Murphy DipAD, DipADT, MA Brigitta Seck Dip Fine Art, MA Fiona Whelan BA, HDipCAEd, MFA
education: staffing list
administrative staffing Helen Fagan centre for continuing education in art and design (cead) head of centre Nuala Hunt BA, Grad. Dip. UTL, MA, MSc (Ed.Mgmt.) administrative staffing Seliena Coyle BDes (Hons), MFA
GILLIAN BRADY 086 848 1321
PROJECT TITLE Illuminations and Reflections of Home STATEMENT This work is an exploration of the home as a place of intimacy and belonging. It draws upon the life and present home of my grandmother; a medical doctor who began working in Dublin in 1952. Areas of the home are isolated, highlighting the independent significance of objects and the value of the familiar. CLASSROOM PRACTICE PLACEMENTS – Mount Temple Comprehensive School, Dublin – Our Lady’s School, Templeogue, Dublin
education
116–117
HANNAH BYRNE hannahmmbyrne@hotmail.co.uk 086 162 4520
education
PROJECT TITLE Human Zoo CLASSROOM PRACTICE PLACEMENTS – St Joseph’s Secondary school Rush – Cabinteely Community School – Balbriggan Community School
Alanna Galvin alanna.k.s.galvin@gmail.com alannagalvin.blogspot.com 085 740 6878
PROJECT TITLE The Periodic Table of Elements (Detail) MEDIUM Watercolour paint on boards DIMENSIONS 109 15cm x 15cm boards STATEMENT The elements in the periodic table represent the earth in its purest form. Throughout history, art has been used as a tool to learn about the world we live in and in turn, to educate and communicate with others. It is through the lens of my art work that I have explored these elements. CLASSROOM PRACTICE PLACEMENTS – St Dominics College, Cabra, Dublin 7 – St Endas Primary School, Whitefriar street, Dublin 8 – Stewarts Care, Palmerstown, Dublin 20 – CBS Westland Row, Dublin 2 – St Joseph’s Secondary School, Rush, Co. Dublin – Central remedial Clinic School, Clontarf, Dublin 3
education
118–119
ORLA GERAGHTY orlageraghty1@hotmail.com 087 753 0513
PROJECT TITLE Strength verses Fragility: Recovery 1 MEDIUM Ceramic, Wire and Medical Bandage STATEMENT I look to create a visual as well as a physical tension in the materials I use, these cracked and tensed surfaces bring to view the conflict between ones inner strength against weakness. Incorporating sewn together bandages into my works signifies the evolution of my concept into the realm of recovery. CLASSROOM PRACTICE PLACEMENTS – Dominican College, Griffith Avenue, Dublin 9 – St Vincent’s Secondary School, Glasnevin, Dublin 11 – Stewarts Hospital, The Coachouse, Palmerstown, Dublin 20 – St Fintan’s High School, Sutton, Dublin 13 – St Dominics Secondary School, Kylemore Road, Ballyfermot, Dublin 10
education
TERESA HOWES teresahowes.blogspot.ie
PROJECT TITLE Story Box DESCRIPTION Exploring challenges of intergenerational communication STATEMENT Interactive research project, conducted to investigate the way in which we communicate and the challenges associated with advancement in communication technology and intergenerational communication. Inspiration for this project came from my CP experience and community engagement projects. Interaction with this project is recommended to allow the viewer to appreciate fully. CLASSROOM PRACTICE PLACEMENTS – Our Lady’s School, Templeogue Road, Dublin 6W – Synge Street CBS, Synge Street, Dublin 8 – Mercy Secondary School, Goldenbridge, Dublin 8
education
120–121
CAROLINE MC CORRISTON carolinemccorriston@hotmail.com 087 204 0136
PROJECT TITLE Self Conscience DESCRIPTION Porcelain, Underglaze Stains and Glaze STATEMENT In contemporary society we strive for perfection. People are compelled to hide their physical faults through clothing and bodily movements both consciously and sub consciously. It seems impossible to refrain from staring at a flaw on a person. My work explores the beauty in these imperfections. CLASSROOM PRACTICE PLACEMENTS – Terenure College, Templeogue Road, Dublin W6 – St Pauls, Secondary School, Greenhills, Dublin – Rockford Manor, Presentation School, Blackrock, Dublin – Scoil Iosagain, Aughavannagh Road, Crumlin, Dublin 12 – Stewarts Hospital, Mill Ln, Palmerstown, Dublin 20 – St Mary's School for Deaf Girls, Dominican Convent, Cabra, Dublin 7
education
NIAMH MURRAY nimhuiriniamh@gmail.com 085 740 3157
PROJECT TITLE Urban Spaces STATEMENT My work is concerned with different architectural perspectives and how the treatment of colour and space can be used to express and transcend the subject matter. CLASSROOM PRACTICE PLACEMENTS – Our Lady's School, Terenure, Dublin 6 – Trinity Comprehensive, Ballymun, Dublin 7 – St Peter’s College, Dunboyne, Co. Meath
education
122–123
HOLLY O’FARRELL holly.ofarrell@gmail.com 085 783 1565
PROJECT TITLE Restraint and Abandon STATEMENT I am interested in the duality of restraint and abandon and have looked at hair and its symbolism within religion and spirituality, it is simultaneously fragile and strong and as a concept has been used as a marker and means of control. I have constructed objects with hair and the shadows cast by these objects are a starting point for my painting. CLASSROOM PRACTICE PLACEMENTS – St Raphaela’s Secondary School, Dublin – Killinarden Community School, Dublin – CBC Park Monkstown, Co. Dublin
education
MARIA O’NEILL airamia79@hotmail.com 087 120 55 43
PROJECT TITLE Untitled STATEMENT The work focuses on the de-personalisation of an individual: the transference of the unconscious and subconscious mind and body, experienced and exchanged during invasive surgery. The distinctive transparent layers unify and intensify the meaning whilst attempting to discover the very essence of the concept – identity in its most vulnerable state. CLASSROOM PRACTICE PLACEMENTS – Loreto Abbey, Dalkey – St Benildus College, Kilmacud – Stratford College, Rathgar
education
124–125
Andrew Rice andrewrice05@yahoo.co.uk 086 028 1686
PROJECT TITLE Hashtag, No Filter DESCRIPTION Painting, acrylic on wood STATEMENT In recent times photography has become less of an art form and more a pandemic of self-documentation. The current generation are growing up in the midst of a camera-phone and social revolution. Various filters allow for customised self-representation and misrepresentation. But are we more connected or disconnected? CLASSROOM PRACTICE PLACEMENTS – Manor House secondary school, Raheny – Mount Anville Secondary School, Dublin – St Mary's College, Dundalk – Deansrath Community College, Clondalkin
education
Margaret Slowey margaretslowey@gmail.com 086 856 0129
PROJECT TITLE Echoes of Life MEDIUM Porcelain Paper Clay STATEMENT To look inside a home is to glimpse into the container of the identity of those who live there. My work is a visual narrative of an abandoned home long devoid of any human presence yet remaining are scattered possessions left to decay with the house that contains them. CLASSROOM PRACTICE PLACEMENTS – Alexandra College, Milltown, Dublin 6 – Our Lady of Mercy Secondary School, Drimnagh, Dublin 12 – St Paul’s Secondary School, Greenhills, Dublin 12 – Stewarts Hospital, Kilcloon, Co. Meath – Central Remedial Clinic, Clontarf, Co. Meath
education
126–127
fine art
foreword: fine art
Art College is potentially always a life-changing place. Sometimes this change is tripped by a series of radical encounters and discovery that create new knowledge and connections. Sometimes the change is incremental and it can be easy to assume that the way we model knowledge is inevitable, rather than a learned, engaged and tested process. At this time of year, change has an exit velocity that increases and expands exponentially, thus we learn more about who we are, what we are about and what we might be capable of ... with others in the academy and in the world. Contemporary fine art is a restless animal of course because it takes upon itself the responsibility to find new ways of communicating for our time. In this sense change and momentum are part of the professional idiom. In the Faculty our working lives are going to be further changed particularly this year by the retirement of four senior colleagues that between them share 160 years of working with and through art practice. Pauline Cummins, Dr Kevin Atherton, Mike Birtchnell and Anthony Hobbs and have made formidable contributions to the transforming experience that art college can be. It is possible to think of each individual in educational action – and be moved by the sheer energy, exhilaration, empathy, and expertise that have marked their contributions. Thanks from us all.
fine art: foreword
The Faculty is growing and transforming. Staff, students and alumni fill our screens and notice boards with details of events, exhibitions, actions, awards, residencies and their audacious encounters in the world. All of this is to suggest that there are dimensions of original knowledge and self-motivation expected as part and parcel of this education that is vivid and valuable in its open – ended pursuit. We know that meaning is made in the way that things are proposed as well as in their content and there is effervescence about this encounter with audience. I would like to thank all involved in administration, teaching and technically supporting students across the faculty. The integration of our new course in its first year and renewed postgraduate provisions has offered new collegial relationships and inputs. In addition to their discipline teaching, staff contributes to a range of shared learning and teaching platforms for the whole faculty. Staff continue to be research active in the world too and there are a wide range of research and practices ‘in play’ throughout the year. These have local, national and international dimensions and are part of the process that keeps learning and teaching refreshed, nuanced and connected. The faculty continues to be active in contributing to European research partnerships and in building opportunity and engagement in civil culture with others. It’s vibrant here. Professor Philip Napier Head of Faculty of Fine Art
128–129
fine art faculty staffing list
head of faculty of fine art Prof. Philip Napier BA (Hons), MFA head of painting Robert Armstrong ANCAD, MA academic staffing Diana Copperwhite BA (Hons), MA Susan MacWilliam BA (Hons) Chris Maguire MA
Margaret O’Brien BA (Hons), MFA, MPhil Dr Naomi Sex BA (Hons), MFA, Phd technical staffing Colette O’Sullivan Dip. FA Mark Ferguson BA (Hons) head of sculpture (acting) Prof. Philip Napier BA (Hons), MFA
Madeleine Moore BA (Hons), BSc, MA
academic staffing Sarah Browne BA (Hons)
Paul Nugent BA (Hons)
Pauline Cummins MPhil
Oliver Whelan ANCAD, MA
Alanna O’Kelly BA (Hons), MFA
technical staffing Enda Walshe
Dr Mick O’Kelly BA (Hons), MA, PhD
head of fine print
Louise Walsh MFA
Mike Birtchnell DipAD, (Hons) HDip.(Postgrad) academic staffing Debora Ando BA (Hons), MA Andrew Folan ANCAD, HDFA, RHA
fine art: staffing list
technical staffing Brendan Begley John Kavanagh Mark Ferguson BA (Hons)
head of media Anthony Hobbs MA academic staffing Cliona Harmey BA (Hons), MA, HDip Claire Nidecker MA Sarah Durcan MFA, MA technical staffing Denise Beck MSc Mark Jones Julia Kemperman Micky Smyth BA (Hons) head of postgraduate pathways Dr Kevin Atherton Dip AD (Hons), PhD academic staffing Leah Hilliard BA (Hons), MSc Dr Kevin Atherton Dip AD (Hons), PhD administrative staffing Angela Dennis
fine art: staffing list
130–131
David Balfe 086 058 7798
fine art: fine print
PROJECT TITLE A Private Act Image Video still
AMBER BARUCH amber.baruch@gmail.com cargocollective.com/amberbaruch
PROJECT TITLE Beneath It All MEDIUM Lambdachrome digital print STATEMENT “...at times piercing beneath the surface, beneath our garments to our nakedness, both physical and psychological...” (Katherine Hoffman 1947)
fine art: fine print
132–133
FERGAL COOKE PROJECT TITLE Exploring the language of form Image Painting
fine art: fine print
ROBERT DINGLE robbie.dingle4@gmail.com 085 248 2835
fine art: fine print
PROJECT TITLE That's my Dublin Image Intaglio print
134–135
Neil Dunne neildavidjames@gmail.com www.neildavidjames.com 087 125 0500
fine art: fine print
PROJECT TITLE Icons Image Digital media STATEMENT The icon: an image that protrudes the purity and perfection of human form. It becomes the focal point, the centre of the work. It isolates our gaze and highlights the person of supreme power. Removing these icons and isolating a gaze, I replicate the work to subvert the original image.
JANE GLYNN jane.glynn@gmail.com 087 287 6914
PROJECT TITLE Transition Image Photograph STATEMENT “I believe most human activities leave traces in space. In one way or another, spaces are transformed by human action” Joachim Koester
fine art: fine print
136–137
Lesley Humphreys www.lesleyhonorahumphreys.com
fine art: fine print
PROJECT TITLE Black Milk DESCRIPTION Video installation
Johanna (Jo) Kavanagh johanna.kavanagh@gmail.com www.jokavanagh.wix.com/ jokavanagh
fine art: fine print
PROJECT TITLE Women, Flesh, Affect, Abject DESCRIPTION Mixed media installation STATEMENT Women, flesh, affect, abject – smell, blood, yeast, roses – hide, contain – viscerality, animality – hurt, stigmata, odour of sanctity, sub rosa, body – disgust, conceal, conform – ephemeral, fluid – degrade, contaminate, repeat – symbol, ritual, – dissect, stain, strain, constrain – unstable – control, neutralise – unsafe – tension, fecundity, decay – deny, order – leakage
138–139
SIENNA MAC ANNA sienna.ardis@gmail.com
PROJECT TITLE Evidence I Image Intaglio print STATEMENT “We need another and a wiser and perhaps a more mystical concept of animals. Remote from universal nature and living by complicated artifice, man in civilization surveys the creature through the glass of his knowledge and sees thereby a feather magnified and the whole image in distortion.� (Henry Beston, The Outermost House, 1928)
fine art: fine print
JILLIAN MC ATEER jillymcateer@gmail.com 085 279 6620
PROJECT TITLE Eden is Coming Image Intaglio print STATEMENT My project interrogates the concept of home as a place of safety as well as instability. By lobotomizing a little garden plot I expound upon experiences of addiction, abandonment, grief and resilience.
fine art: fine print
140–141
ALANNAH O’NEILL alannahbanana@live.ie 086 244 9198
PROJECT TITLE Skin Deep PHOTO Lambdachrome mounted on dibond STATEMENT I focus on an unexpected beauty that comes from the norm and abnormal. Through obscure and oddly beautiful images, the work proposes a celebration of the self and the appreciation of beauty in all things. Who is to say a defect can’t be beautiful?
fine art: fine print
Niamh NĂ Anluain niamh.michelle@gmail.com www.cargocollective.com/ nvvvvvvvvvvvvv
PROJECT TITLE A Cognitive Prosthesis. 2014 DESCRIPTION Installation STATEMENT Using generative software and synthesis programming, working process critiques cognitive prosthesis to draw imagery from the body, forming a document of hearing. Considering Schumann resonance, ASMR and the meditative state of body and technology. Listening to listening, considering the agenda of sound as filtered in the everyday commercially and ideologically.
fine art: fine print
142–143
Chloe Phipps chloephpps@gmail.com 087 683 0660
PROJECT TITLE Consuming Childhood Image Intaglio print STATEMENT Consuming Childhood explores the manipulation of childhood innocence by mainstream consumerism and pop culture, and the associated pressure that is thus exerted on the young girl to conform to a racier version of themself.
fine art: fine print
Kieran Bollard kieran.bollard@gmail.com 086 074 2215
fine art: media
PROJECT TITLE An Adventure That Counts STATEMENT In a modest proposal, Kieran Bollard’s piece is promoting the excellent work of many orphanages in suggesting that Cambodia should make the short leap from tourism to amusement park. This park ensures you get your money’s worth and can show your friends and family how you made a difference.
144–145
Fiona Campbell fionacampbell6@gmail.com 086 157 7574
PROJECT TITLE No Man’s Land DESCRIPTION Space Place Dwelling Building House Home Heimat?
fine art: media
Robert Carroll robertcarrollrobertcarroll @hotmail.com
PROJECT TITLE Untitled IMAGE Digital image STATEMENT The process in which the photographic image is produced is obstructed due to the conditions surrounding how light is focused through a camera obscura. I aim to remove this obstruction while the conditions remain intact so that the viewers may unravel the phenomenon themselves in a selfreferential work.
fine art: media
146–147
STEPHEN CONSIDINE conkomedia@live.ie www.stephenconsidine.com
fine art: media
PROJECT TITLE Time Will Tell STATEMENT Stephen’s work is an exploration into the idiosyncrasies of humans who are obsessed with a system of time created in the 19th century which combats our natural, biological circadian rhythm. Time Will Tell is a montage of interlinked videos that move clockwise, creating a composite image that is comparable to a clock.
Emma Conway emma_conway123@hotmail.com 087 957 6430
PROJECT TITLE Regeneration IMAGE Digital Photograph STATEMENT Regeneration deals with themes of mortality and spirituality. The artist is interested in the human body, from illnesses in life, to death and decomposition.
fine art: media
148–149
AVRIL CORROON www.avrilcorroon.com 087 213 8988
fine art: media
PROJECT TITLE Permission Sought Description Intervention IMAGE 100m rope from the artist’s home at 43 Miller Hall, Thomas St. to the art school NCAD
Louis Deacy louis.deacy@yahoo.ie
PROJECT TITLE All Country IMAGE Production still, Digital Photograph STATEMENT All County is a razor sharp documentary about graffiti in Ireland with insights from contemporary writers, founder fathers, councillors, art critics and psychologists from all over the country.
fine art: media
150–151
Edel Fenelon edelfenelon@hotmail.com 086 057 1341
PROJECT TITLE Untitled IMAGE Experiment with text, Digital Photograph Statement Voiceless words become the water we swim in.
fine art: media
Roy Gilmartin roygilmartin1@hotmail.com 086 154 6176
PROJECT TITLE Untitled DESCRIPTION Installation Image Computer generated drawing STATEMENT This interactive performance piece explores the evolution of gaming, simulated spaces with real life consequences and the intertwining qualities between virtual environment and reality.
fine art: media
152–153
Dary Gregg darygregg@gmail.com
PROJECT TITLE The whole is greater than the sum of all imparts IMAGE Digital scan STATEMENT An idea replicates with low fidelity, its original understanding increasingly decreases with the production of every copy. The act of communicating this idea with high fidelity is increasingly vexatious with the production of every copy.
fine art: media
Kerry Guinan kerry.guinan@gmail.com www.cargocollective.com/ kerryguinan
PROJECT TITLE Untitled DESCRIPTION 1m² unearthed from the median strip of the N11, Loughlinstown IMAGE Digital Image of Intervention STATEMENT An interrogation of the cyclical nature of the property market.
fine art: media
154–155
MARY-KATE HARDY mkhardy47@gmail.com 087 784 3002
PROJECT TITLE Sciamachy DESCRIPTION Installation IMAGE Installation view, digital photograph STATEMENT Sciamachy encourages the subject to engage in a battle with imaginary enemies. The piece uses fear as a mechanism to allow the viewer to intimately experience the work. By engaging with the subject’s subconscious, this work focuses on stimulating our primal senses to evoke an involuntary fearful response.
fine art: media
Dzifa Hollwey dzifahollwey@gmail.com www.dzifahollwey.wix.com/ dzifahollweyartist086 354 1190
fine art: media
PROJECT TITLE Amidst transience IMAGE Detail of Digital Light Box Image STATEMENT Hidden behind the barbed wire and high walls reside the ghosts of busy industrial Dublin. This piece aims to remove the physical barriers of Bolands Mill and capture the intimacy of its emptiness.
156–157
Conor Horgan-Gaul chorgangaul@gmail.com 085 102 8745
PROJECT TITLE Who is Bogg? IMAGE Drawing STATEMENT Bogg is a fictional character created from a found image. The work looks at the exploitation of art for the sake of profit. By manufacturing an identity and a history, this otherwise forgotten image attracts attention. This has allowed for the construction of a brand under the pretence of searching for the artist.
fine art: media
Gerard Nash gerardnash91@gmail.com 086 344 056
PROJECT TITLE Four Years IMAGE ‘Untitled’ Still image from video DESCRIPTION Video/Sound Installation STATEMENT Four Years is a four-part video/sound installation series chronicling four different stages of feelings and atmospheres experienced at the end of the said four year period. It is an investigation that explores the connection between moving image and sound, through the narrative, to create an immersive and atmospheric visual/aural experience.
fine art: media
158–159
NIAMH NĂ? THUATHAIL niamhotoole1991@gmail.com 087 211 2176
PROJECT TITLE Oidhreacht DESCRIPTION Video installation IMAGE Location still, digital photograph Statement Landscape, Language, Screen.
fine art: media
CAMERON RIDYARD cameronridyard@gmail.com
fine art: media
PROJECT TITLE Nemophilist DESCRIPTION Hand cut paper trees and animation creating a fantasy environment IMAGE Digital Photograph
160–161
Saoirse Wall saoirsewall@gmail.com www.saoirsewall.com
PROJECT TITLE Gesture PROJECT DESCRIPTION 8min video loop projected on free-standing screen (200 x 355.6cm) IMAGE Video screen capture STATEMENT A large-scale projection of the artist engages with the viewer through a series of repetitive movements.
fine art: media
Sam Bachy sambachy@live.ie 086 088 0868
PROJECT TITLE Untitled, 2014 DESCRIPTION Mixed media installation STATEMENT “The variegated atmospheres, aggregations, textures, sounds and smells of ruins mean they are places in which to remember otherwise, realms rich in potential for the evocation of involuntary memories.” (Tim Edensor, Industrial Ruins, 2005)
fine art: painting
162–163
Magdalena Blom www.magdalenablom.se
PROJECT TITLE Homebound IMAGE CAPTION Film still, courtesy of Magdalena Blom, 2013 DESCRIPTION A multimedia installation STATEMENT Many types of ______ migrate on a regular basis, on time scales ranging from daily to annually or longer, and over distances ranging from a few metres to thousands of kilometres. ______ usually migrate because of diet or reproductive needs, although in some cases the reason for migration remains unknown.
fine art: painting
Fala Buggy falabuggy@gmail.com www.falabuggy.com
PROJECT TITLE Space Between Forms DESCRIPTION Paint and pencil on found wood STATEMENT You are walking. Letting in the wet and not a thing out. Not thinking anything worth the thought, just banal obligations. Slowed down to grotesque detail, your limbs, although porous, hollow and filled with friction, move at the speed of dead wood. Raw material waiting to be moulded or exploited.
fine art: painting
164–165
Cathal Burke cathal123abd@hotmail.com www.cathalburke.com 085 707 3675
fine art: painting
PROJECT TITLE Clonskeagh Lecture Series IMAGE Photograph of installation STATEMENT A series of live presentations exploring the recent history, goings-on, and idiosyncrasies of a small south Dublin suburb. Time collapsed through the combination of evidential video, photo, and relic.
MaighrĂŠad Bussmann maighreadbussmann@hotmail.com www.maighreadbussmann.com 087 941 3946
PROJECT TITLE Lisheen House Image Photograph, Saehan Factory. 2014 STATEMENT My work is photography based. The photos are about particular parts of Ireland around the Sligo area, where I grew up. The locations include Gleniff Horseshoe in Ballintrillick, Lisheen House in Kellystown and the Saehan factory near Hazelwood. The work is a personal exploration of these places and how they have evolved and changed in my own lifetime.
fine art: painting
166–167
Diarmuid Corkery diarcorkery@gmail.com www.cargocollective.com/ diarmuidcorkery 087 056 8484
fine art: painting
PROJECT TITLE In Cold Blood DESCRIPTION Snow Blindness, installation, paper and UV light STATEMENT Contemporary media and produce consumption are linked in my practice by the fluorescent capacity of objects when exposed to ultraviolet light. Paper print-outs glow like TV or computer screens, while paper gathered on the floor simulates imagery of ice melting due to climate change. Some works also evoke tableaux of film noir as well as the UV light’s associations with forensics to present these themes as crimes being investigated.
LORRAINE CROSS cross.indigo@gmail.com 087 266 9883
PROJECT TITLE Garzweiler Strip Mining West of Dusseldorf DESCRIPTION Acrylic on timber panels, 152 x 183cms STATEMENT “The more clearly we can focus on the wonders and realities of the universe around us, the less taste we shall have for destruction.” Rachel Carson
fine art: painting
168–169
Martha Daly marthadaly@rocketmail.com www.cargocollective.com/ marthadalyart 087 781 0993
fine art: painting
PROJECT TITLE Untitled DESCRIPTION Silly string on mirror STATEMENT Martha Daly creates works that play the amorphous qualities of nature against the rigid formalism of manufactured objects and architecture.
Ann-Marie Delaney www.cargocollective.com/ annmariedelaney 085 740 4006
PROJECT TITLE Untitled IMage On-site photograph STATEMENT al·ter·i·ty a space other than a space outside of
fine art: painting
170–171
ﾃ（ne Farrell ainef91@gmail.com 085 144 7969
PROJECT TITLE Soap on Soap Image Photograph STATEMENT Get under my Skin, Lather away the Latter,
fat lard soap
fine art: painting
Barbara Halliday barbara.halliday@gmail.com 087 760 1290
PROJECT TITLE Ambiguous Threads DESCRIPTION Fabric, embroidery thread and acrylic paint on canvas, 45 x 60 x 2cm STATEMENT “My wish, indeed my continuing passion, would be not to point the finger in judgment but to part a curtain, that invisible shadow that falls between people, the veil of indifference to each other’s presence, each other’s wonder, each other’s human plight. ” Eudora Welty Quote taken from: Agnes’s Jacket by Gail A. Hornstein
fine art: painting
172–173
Colette Iremonger cabgrant1@eircom.net 086 847 2747
PROJECT TITLE Untitled DESCRIPTION Mixed media on paper 29 x 29cms STATEMENT I am experimenting with ashes, cinders, glue, gum, enamels, oil and acrylic paints, gouches, lacquer, household paints and varnishes, sawdust, leaves, eggshells, household oils, and any material that interests me. I am interested in colour, texture, materials and space. Memories and emotions are created in the layers of paint. I am painting on calendars, wood, canvas, lino, college term planners, patterns, music etc.
fine art: painting
Kyle McDonald kylemarkmcdonald@gmail.com
fine art: painting
PROJECT TITLE A Multitude of Fleeting Forces
174–175
Tara McKeon tazmck@hotmail.com www.taramckeon.com 086 103 7431
PROJECT TITLE I Do Not Believe (An Axiom) IMAGE CAPTION Installation Shot from Setup, a Device, March, 2014 DESCRIPTION Dimensions: 2.5 x 5 x 9ft; video length: 6 minutes STATEMENT I Do Not Believe presents a character professing their belief. Set in the green fields of rural Ireland, the character repeats their refrain which is only audible atop the structure. McKeon’s practice is based on the structure of belief in contemporary society. Through her practice she examines the ability to create, manipulate and dictate meaning both as an artist and as a viewer.
fine art: painting
Roisin Murdock roisinem19@gmail.com 087 691 1303
fine art: painting
PROJECT TITLE Transmogrify Image Mixed media painting
176–177
ZoĂŤ Nolan zoe.d.nolan@gmail.com 085 181 2633
fine art: painting
PROJECT TITLE The Unqualified Optimist MEDIUM Oil and acrylic on board
Frances O’Dwyer fran909is@gmail.com
fine art: painting
PROJECT TITLE Drift Image Photograph
178–179
Fiachra O Suilleabhain fiachraosuilleabhain.com 085 114 7851
PROJECT TITLE Cabinet Image Mixed media STATEMENT Surfaces articulating surface, pictures being frames, endings searching for their beginnings, content defining threshold and thresholds defining content. Self reflexivity’s producing overtones and harmonies replicating more than just themselves. Nothing is hidden, outcome and ethos on one singular plane.
fine art: painting
Ciara O’Toole ciara.cotoole@gmail.com
PROJECT TITLE Untitled STATEMENT These are paintings of my dog Bell. She’s a Rottweiler, German Shepard cross. I decided to paint her after looking over photographs of her on my phone. I noticed the blurry or out of focus pictures were funny and more interesting to look at. Because she’s such an active girl I thought the blurry photos showed more of her personality.
fine art: painting
180–181
Miles Reilly milesreilly@hotmail.com 085 231 5240
fine art: painting
PROJECT TITLE In-between IMAGE Ink, acyrlic on canvas
Hannah Ryan hanzryan@hotmail.com
PROJECT TITLE A Secret Space Image On-site photograph STATEMENT This collection of work explores the secret realms of hiding places and dens. Spaces for refuge. Spaces for play. Primitive forms and playful hues shape these worlds onto the canvas, while the simple structures made out of scrap wood and clay represent the spontaneity and fragility of these forts and huts. The work is playful and dreamlike, describing a recognisable yet undefinable space.
fine art: painting
182–183
AAron Stapleton aaronjosephstapleton@gmail.com www.aaronstapleton.net 085 158 8434
fine art: painting
PROJECT TITLE Three short films Image Film Still STATEMENT Considering the structures of cinema, sound and narrative. Something of the everyday, a mundane sense of life, a self reflective sensibility.
Aidan Wall www.aidanwall.com 083 300 6778
PROJECT TITLE Obair Image Documentation of performance PHOTOGRAPHED BY Cáit Fahey STATEMENT Cosmo Kramer: “Boys, I'm retiring!” Jerry Seinfeld: “From what?” ‘Seinfeld’, Season 9, Episode 15, The Wizard “As there are no limits to work there are also no limits to not working.” Liam Gillick, The Good of Work, 2009
fine art: painting
184–185
Katie Watchorn watchornkatie@gmail.com cargocollective/katiewatchorn 083 416 9389
fine art: painting
PROJECT TITLE A softness preserved you Image On-site photograph STATEMENT rotational force → lateral movement → right-of-way
Renèe Helèna Browne reneehelena92@gmail.com www.reneehelenabrowne.com 086 353 9359
PROJECT TITLE Paradox of the Ekkyklema IMAGE CAPTION Documentation of performance at ‘setup, a device’, Mill St. Dublin 8 DESCRIPTION Timber, plywood, wheels, two actors STATEMENT An attempt to transgress the limitations of an illusion is made by an actor, the attentive inquirer, frustrated by opposing ignorance in himself. The other, a character, is resigned to his role. While an ekkyklema narrates a theatrical subplot, here this contradiction is played out in the hope of resolution.
fine art: sculpture
186–187
Eileen Coll eileencoll@live.com 087 772 5944
PROJECT TITLE Man DESCRIPTION Pig Skin & Antlers Photo Credit Eileen Coll STATEMENT My work experiments with materials so that the viewer can empathise with feelings of an uncomfortable nature such as stress and vulnerability. My work puts a visual form to these confusing emotions. I manipulate skin and other materials in an attempt to communicate concepts of worth.
fine art: sculpture
Niall Cullen niallcullen@gmail.com 085 707 3849
PROJECT TITLE Untitled STATEMENT Studying at NCAD has been an exciting experience which has made me grow as a person and an artist. Thanks to my friends, family, the NCAD staff and all of my sponsors. National Irish Artists Association Visual Artists Ireland Royal Hibernian Academy AIB Sony Vodafone Ballygowan
fine art: sculpture
188–189
Ronan Fahey chatrnet.ronan@gmail.com 085 712 5841
PROJECT TITLE Exhaust Box DESCRIPTION Performance, Installation Image Photograph of oil on water STATEMENT Ronan Fahey's work explores the subject of energy in contemporary life. This installation exemplifies an alternative method of energy production while also provoking a discourse in considering our individual role, its impact in our world and our cultures inability to turn away from hydrocarbon fuels.
fine art: sculpture
Siobhan Fitzsimons siobhanfitzsimons@hotmail.com www.siobhanfitzsimons.wordpress.com
PROJECT TITLE The Pervert Tweezers DESCRIPTION Still from HD video. 2014 STATEMENT My body of work is a rumination, through video and photography, on my own hair removal practices. I attempt to come to terms with the taboo of female body hair personally, and to understand the cultural and social constructions which affect that.
fine art: sculpture
190–191
Jennifer Flanagan 09369732@student.ncad.ie
PROJECT TITLE Untitled DESCRIPTION Video installation with sound STATEMENT Flanagan’s practice is focused on issues of anxiety and panic that accompany a vast rural landscape. Often referencing a ‘lurking’ character, she re-tells fictitious events using video and sound installations. Through the manipulation of video and words, she creates a fragmented narrative for the audience to experience and interpret.
fine art: sculpture
Deborah Hewson hewdeb@gmail.com www.deborahhewson.blogspot.ie 086 3347 086
PROJECT TITLE Untitled DESCRIPTION Video projection (size variable) DIMENSIONS Coracle 100 x 135 x 35cm STATEMENT “Perceived powerlessness activates the cycle of alienation as it forms the mental bridge between external conditions and emotional and behavioural responses.” Karlyn Geis, Catherine E. Ross (1998)
fine art: sculpture
192–193
Sinead Keogh www.sineadkeogh.net
PROJECT TITLE Aslan DESCRIPTION Multi-sensory installation Image Video still STATEMENT The viewer enters a world based on The lion, the witch and the wardrobe. Aslan creates this world constructed through periods of intense A-tonal notes, music and fragmented images. A narrative based on the character’s experiences of blindness is unfolded in the darkness.
fine art: sculpture
Hazel McGennis hazel.mcgennis@hotmail.com 086 175 0683
PROJECT TITLE A Good-Place, No-Place DESCRIPTION Mixed media, plants STATEMENT The garden is an approximation of another world. It is an ensemble of both convention and strangeness.
fine art: sculpture
194–195
Aoife Irwin Moore aoifeirwinmoore@gmail.com www.cargocollective.com/ aoifeirwinmoore 085 704 0597
fine art: sculpture
PROJECT TITLE Grounds for Play DESCRIPTION Built intervention (location variable), 2014 DIMENSIONS 360 x 420cm, Pine STATEMENT The playground has been marked by an irresolvable contradiction: it exists between freedom for spontaneity and the controlled design of an environment. This body of work is active in deconstructing the playground as a distinct space for play.
Molly Moynihan mollymoynihan8@gmail.com 087 190 8271
PROJECT TITLE Selling Advice DESCRIPTION Video still STATEMENT Television has been reinvented as an instructional model for us to live our lives by, acting as a supplementary force to government intervention. This work questions our growing reliance on the ‘TV expert’ in ensuring the welfare of the state.
fine art: sculpture
196–197
Robert James Murphy robertjkm@hotmail.com www.robertjkmurphy.com 087 954 5697
PROJECT TITLE Grounds for Ascetic Affirmation (2014) DESCRIPTION Multimedia Installation PHOTO Silence Carbon Photostat Digitalised STATEMENT I’m trying to articulate silence. And I can’t quite get there. I want to write in words how words aren’t enough. And it’s never enough. The allure of the unreachable. The physical disconnect. It’s unbearable. All the time wanting more, I want to break the silence before it breaks me.
fine art: sculpture
Emma O’Brien emmobr@gmail.com www.cargocollective.com/ emmaobrien 086 068 5080
fine art: sculpture
PROJECT TITLE Balance DESCRIPTION Mixed media installation Image Still from video STATEMENT My work investigates aesthetic representations of unsettling feelings, particularly in terms of sculpturally exploring balance and equilibrium. Through experimenting with weight and tension and expressing it through abstractions of the human form, I intend the viewer to reflect upon their own physicality.
198–199
Aoibhinn O’Dea www.cargocollective.com/ aoibhinnodea 087 630 1994
PROJECT TITLE Den DESCRIPTION Installation with HD video MATERIAL Canvas, wood, rope STATEMENT To seek refuge from grown-up society in realms that paradoxically ease their way into adulthood. To hide out, finding an intimate space where one cannot be seen.
fine art: sculpture
Cian O’ Sullivan cianisnot@gmail.com www.cargocollective.com/ cianosullivan 086 121 37 99
PROJECT TITLE Kenshō DESCRIPTION Installation with HD video MATERIAL Canvas, wood, rope STATEMENT Kenshō; A moment of brief enlightenment. It can be relatively insignificant, even forgotten and come from the most mundane situations, but for a sliver of a second your position in the world is clear. You become present in your own life and the singularity of the moment is fully felt.
fine art: sculpture
200–201
Ciara Shortall ciarashortall7@gmail.com www.ciarashortall.tumblr.com
PROJECT TITLE Consumed DESCRIPTION Video and construction STATEMENT Shortall’s practice explores themes of anxiety, obsession and self-absorption. “Consumed” seeks to give the psychological struggle and constraints of anxiety a physical expression, through the body’s interaction with active materials. The video’s composition was designed considering how the viewer experiences it within the confines of this tight, enclosed structure.
fine art: sculpture
Katelijne Verbruggen katelijneverbruggen@hotmail.com katelijneverbruggen.com 086 191 1166
fine art: sculpture
PROJECT TITLE The Instance of Brightness (2014) DESCRIPTION Interactive Light Installation STATEMENT Encounters with light awaken us to its illuminating potential. The fact light allows us to know what we know (through vision, illumination, and clarity) while also symbolising and orchestrating that which we do not, or cannot know. The fragile uncertainty of knowing.
202–203
Eimear Walshe eimearwalshe@hotmail.com www.eimearwalshe.com 085 720 9446
PROJECT TITLE DAD, installed with Francis, Ernest, and Prudence discuss their naming and conception DESCRIPTION Sculpture with HD video, 7'12" IMAGE CAPTION Installation view at 'setup, a device', Dublin 8, 2014 “Prudence: (Brightly, as if opening an interview for Tonight with Miriam) One of my favourite things about the name Francis is that it can be both a boy's name and a girl's name, how did you come to be given this name, and in what circumstances were you conceived?� An excerpt from Francis, Ernest, and Prudence discuss their naming and conception
fine art: sculpture
Nicola Whelan www.nicolawhelan.com
PROJECT TITLE A series called ‘Creative Destruction’ Description A portrait of the late artist as an ebay auction Image Polaroid of shop window, 2039 STATEMENT I collect whatever I feel can and should be included in a meaning system, to counter the database, our structure of dehumanized power. The swarf, the idiosyncratic, unsystematic and obsolete; our human memory. I describe, critique and finally challenge the dynamics of this database, forcing it to change and evolve.
fine art: sculpture
204–205
visual culture
foreword: visual culture
The Faculty of Visual Culture acts as a hub within the National College of Art and Design, 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. A primary responsibility of the Faculty is the generation and support of original scholarship that engages with the current challenges and aspirations of our times. Students in the Faculties of Art, Design, Education and Visual Culture study components of the visual culture curriculum together. Interand cross-disciplinary thinking are emphasised alongside the acquisition of rigorous visual and textual literacy. Research approaches range broadly from the conceptual and theoretical, to historical and material inquiries. Critical thinking remains the central tenant of the curriculum. Learning is intended not only to situate and refine the practices of each individual student, but also to provide insight into the diversity of approaches undertaken by peers, future colleagues and exemplars of international practice.
Graduating students this year have each submitted a dissertation. Drawing on a diversity of methods, these submissions interrogate salient issues found in contemporary art, design, film and cultural studies discourses today. Research topics include the unexpected: artic survival and exploration, the clothing of Gaelic football, and consumer perspectives on post-mortem services. Taken as a whole, these dissertations serve as a written record of the innovative curiosities that fuel NCAD’s emerging generation of artists, designers and educators. Professor Jessica Hemmings Head of Faculty of Visual Culture
Parallel to the Faculty’s undergraduate curriculum for Art, Design and Education students is the new degree programme, the BA (Hons) in Visual Culture, launched in the autumn of 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 are 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 eventual employment in the diverse professional sectors that reside around the creation and consumption of art and design.
visual culture: foreword
206–207
visual culture faculty staffing list
head of faculty of visual culture Professor Jessica Hemmings BFA, MA, PhD academic staffing James Armstrong BFA, MA, MSc – Media Studies, Film Studies, History of Art Dr Paul Caffrey BA, MA, PhD – MIDI History of Art and Design Dr Lisa Godson BA, MA, PhD – History/Theory of Design and Material Culture Dr Francis Halsall MA, PhD – History/Theory of Modern & Contemporary Art Dr Declan Long BA, MA, PhD – History of Art Dr Anna Moran BA, MA, PhD – History of Design Dr Paul O'Brien BA, PhD – Aesthetics/Cultural Theory Hilary O'Kelly BA, MA – History of Design administrative staffing Neasa Travers
visual culture: staffing list
208–209
postgraduate
foreword: postgraduate
This section of the catalogue represents work from across the range of taught Masters programmes, offered by NCAD: MA 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 (from 2014 this programme will be redesignated as MFA Art in the Digital World). MA Art in the Contemporary World – a one-year taught programme to encourage artists and cultural workers to place their work critically within contemporary art currents (students wishing to pursue a studio route can proceed to the second year of the MFA in Fine Art on successful completion of this programme). MFA in Fine Art – a two-year studio programme to facilitate advanced art practice in painting, sculpture, print and media. MA in Design History and Material Culture – a one-year taught programme addressing the history of design and material culture in Ireland and beyond. MA in Visual Arts Education – a two year taught programme concerned with the role of visual arts and culture within education.
postgraduate: foreword
MA in Socially Engaged Art – a two year (parttime) programme exploring the teaching of Art and Community Action in a variety of social and institutional settings. MSc Medical Device Design – a one year programme specialising in research and development in the area of specialist medical device design. MA in Design – a research based programme exploring the principles and practices of design through dedicated project work. From 2014, NCAD will offer an exciting new range of new two-year (full time) MFA programmes in Fine Art and Design. These will offer study and studio practice across a range of fine art and design disciplines. NCAD Masters students seek to address a wide range of cultural, socio-economic and creative concerns through their work. New modes of public engagement are explored, creative constraints challenged, critical dialogues plotted ... and the future imagined. Professor Des Bell Head of Academic Affairs & Research
210–211
Chloe Brenan chloe.brenan@gmail.com
PROJECT TITLE Tympanum DESCRIPTION Laser cut paper 2013 STATEMENT My work is concerned with porosity and the ambiguous relationship between such contrary states as interior and exterior, real and fictional, positive and negative. At its most fundamental level it is concerned with holes, apertures and openings, as well as the positive planes that are ruptured as a result of their presence. I am interested in the generative potential of these negative spaces which in themselves become vehicles or mediums that facilitate a communication or exchange between opposing sides, a ‘pore’ through which information literally pours; from inside to outside and vice versa. This inherent reversibility that characterises holes is a focal point in the work.
postgraduate: ma art in the digital world
AILEEN DROHAN info@aileendrohan.com www.aileendrohan.com
PROJECT TITLE Open Lenses STATEMENT “Webcams can be argued to contribute to the partial democratisation of surveillance” Hille Koskela My MA research explores surveillance in contemporary society with a focus on the image and the more recent phenomenon of live streaming webcams. Through a series of webcam interventions that investigate the boundaries between the ‘physical’ world and its’ ‘virtual’ representation, a questionable reality is presented. In the translation from one to the other, what can be revealed or concealed? The hope is to challenge the viewer to decode the visual information and the possibilities that unfold which question the systematic failures that occur in presenting reality online.
postgraduate: ma art in the digital world
212–213
Sylvia Callan kascallan@gmail.com 087 939 1924
PROJECT TITLE T Series DESCRIPTION Photo on tracing paper STATEMENT This work looks at what remains from a moment. Tea is used as a medium to capture this. Daily, tea is drunk around the world and has a particular place in Irish culture. Thoughts, emotions and celebrations are shared while drinking tea. Water swells the tea leaves and after the liquid is gone, they are all that is left at the base of the cup. Transitory patterns are created that are unique to this time. The leaves will eventually dry out, evaporating all that was. By documenting, the memory is captured.
postgraduate: ma art in the digital world
Luz María Estrada Irigoyen www.allalhena.com
PROJECT TITLE Dispersed Body of Desire Description Digital Photography on Light Boxes (various sizes) STATEMENT The body is not a thing, it’s a “situation”: its our grasp on the world and a sketch of our projects” Simone De Beauvoir, 1949 I am interested in the tension between the natural and the artificial, the outside and the inside, the inner workings of the subjective mind. For the last two years my research has been focused on the relations between the body and identity development, specifically in the highly mediated Western world. Through the use of appropriated images and self-portraiture I investigate and attempt to shed some light on the process in which we construct our ideals of beauty and self-worth.
postgraduate: ma art in the digital world
214–215
Ulla Juske ullajuske@gmail.com www.ullajuske.net
PROJECT TITLE Diamond rain, hairy legs and other magical wanders DESCRIPTION Mixed media installation 12 boxes of wonders, screen prints STATEMENT Bizarre, wondrous, fantastic, exotic, strange: objects and stories that evoke such description have long attracted attention. In the mid-sixteenth century Europeans began to collect them, and to present them as the cabinet of curiosities. Diamond rain, hairy legs and other magical wanders is an installation of drawings, stories and strange objects, seen through peepholes. It is arranged as a cabinet of curiosities where reality is blended with the imaginary. The piece is based on stories I have been collecting from various news sites over last two years.
postgraduate: ma art in the digital world
John Daniel Murphy johndanielmurphy85@gmail.com
PROJECT TITLE The Navigation of the Self STATEMENT My work is a personal map seeking to capture the changes in myself and evidence an awareness of what is moving through my life, internally and externally. Using both visual and sound narratives that dwell around the edges. “HOUSE” is filmed in the home where I grew up. It reflects a transitional phase cast through memory, space and loss. The open front door is a reminder of the threshold of life. The audio used from Christmas Day 1993. The second piece “AWAY”, uses an internal monologue to demonstrate the journey of the self through time.
postgraduate: ma art in the digital world
216–217
Atoosa Pour Hosseini atoosapourhosseini@gmail.com www.atoosapourhosseini.com
PROJECT TITLE Recollections DESCRIPTION Performance Still Mixed Media Installation STATEMENT The main subject of my research project is to investigate the relation between drawings, painting and moving image with sound. I employ drawing and its ability to be transformed/ transmitted in different medium such as video installation and performance art. Ideas are triggered through observations made during everyday life, but also through memories. The work tends to create a very personal space, which is both uncanny and obscure, favouring nostalgic and dreamlike atmospheres. My pieces usually dissolve narration in order to eventually reach an enigmatic and mysterious state.
postgraduate: ma art in the digital world
Paul Terry paterry@gmx.com www.paterry.wordpress.com
PROJECT TITLE Space Between STATEMENT My work looks at relationships between structure and form. Of particular interest are emergent phenomena, where many small-scale interactions give rise to something on a broader scale that is not easily predictable from them. These are often explored using custom software but it is also possible to so by experimenting with materials. It was by the latter approach that Space Between came about, where interactions in a 3D weave lead to an approximation of an elegant form known as a minimal surface. Architect Frei Otto hypothesised that these surfaces play on our innate aesthetic sense, since they are perfectly tensioned and balanced.
postgraduate: ma art in the digital world
218–219
JOHN BUSHER info@johnbusher.ie www.johnbusher.ie 087 766 2507
PROJECT TITLE Distant Places Artwork Title Automation (2014) Medium Oil on Canvas, 100 x 100cm STATEMENT Current work is a preoccupation to render figurative elements in relation to space. This is a departure from previous work that has dealt with human first encounters and every day experiences such as, amusement parks, pedestrianized areas and familiar occasions. Human presence and lack of it has been a common feature in the work. This has taken the form of motifs, such as islands and lighthouses. The purpose of this is to examine the relationship, both past and present of forgotten or overlooked elements within our environment. The work examines painting and printmaking within a phenomenological context, with the aim of analysing figurative elements and how these are positioned within space.
postgraduate: ma art in the contemporary world
Denis Mortell www.denismortellphotography.ie 086 604 4111
PROJECT TITLE Untitled from the series The Stations IMAGE DETAILS Digital photography print. A3+ (329 x 483mm) Printed on Hahnemuehle Photo Rag Cotton paper. STATEMENT This image is one of a series of 13 examining the obsession with and bogus religiosity surrounding petrol, oil and the oil industry.
postgraduate: ma art in the contemporary world
220–221
Aisling NĂ Chlaonadh aislingnichlaonadh@gmail.com www.aislingnich.tumblr.com 086 355 8311
PROJECT TITLE Permutations (Series) IMAGE TITLE '60 attempts at a passport photo' MEDIUM Acrylic on board, 10 x 15cm, 2014 STATEMENT My practice is concerned primarily with the notions of repetition and obsolescence. Neither wholly personal or impersonal, passport photographs and family snapshots are used to create paintings of chimerical, half-recognisable figures which revel in the ambiguity of being neither strangers nor loved ones. By attempting to manually reproduce the same bland photographic image over and over again through paint, my work aims to play with the conventional belief that the painted portrait can reveal anything meaningful about its portrayed subject.
postgraduate: ma art in the contemporary world
Sally O’Leary STATEMENT My research interest lies in the theoretical and historical development of art since the 1960s, in particular the paradigm shifts between Modernism and Post-Modernism, and where this has led current art practice. My thesis will consider the seemingly continuous loop which questions, on the one hand, the ‘gap between art and life’ and on the other, arts autonomy, its historical context and changing emphasis. The question is, whether this dialectic still has relevance to art today, or whether, as seems to be apparent, the terms of reference have changed, with artists seeking new ways of production and meaning which have moved beyond this dilemma.
postgraduate: ma art in the contemporary world
222–223
Elizabeth Archbold PROJECT TITLE Being What they Are PAINTING TITLE Doubling, (2014) DESCRIPTION Oil on Canvas, 50 x 40cms STATEMENT My work comes from a curiosity of the capacities of painting to communicate, embody, and resonate. This involves a process of response and close looking. Sometimes what emerges is a state of becoming, of incompleteness. An incompleteness that holds a shifting scale. Scale is contained within the painting irrespective of size. Sometimes paint layers are a barrier to the viewer. Sometimes there is an interaction of incommensurable elements. Finding a way with paint determines that they do not always evolve as beautiful objects. There is always an enquiry, there is never a solution, there is a continuous process of looking.
postgraduate: mfa in fine art
Paola Catizone paolacatizone@gmail.com www.paolacatizone.com 086 3596 824
PROJECT TITLE Smudge, 2014 DESCRIPTION Live Performance and Video (HDV, looped) PHOTOGRAPHED BY Paola Catizone, 2014 STATEMENT A dance exploration is adopted and re-imagined here as a strategy for ‘all-body’ drawing, an approach to mark making that relies on the kinesthetic sense. The act of drawing with the body is ritualized by daily repetition over the duration of the exhibition, the traces of the actions growing gradually, while live performance and mediated image inhabit the same space. Seven hand-made white dresses, one for each performance, bring the slow pace of craft into relationship with the immediacy of embodied action. The duration of the video will grow cumulatively, engaging time as a working factor.
postgraduate: mfa in fine art
224–225
Joan Coen joancoen46@gmail.com
PROJECT TITLE Sabbath Description Oil on canvas STATEMENT Seeing life as Idea, these paintings reflect the flux and rhythm of life, engage with metaphor, are concerned with the philosophy of Plato and with Judaic thinking on Creation and on the significance of the Vessel. Thought creates therefore I find Martin Heidegger’s statement of particular interest wherein he exhorts one to think one thought, one thought only and think it through to the end.
postgraduate: mfa in fine art
Pat Curran 089 218 6520
PROJECT TITLE Educational Psychology DESCRIPTION Untitled, oil painting on book cover, 2014 STATEMENT The ideas that are of interest to me are images we see of individuals on the margins of society, the debased and ignored. I seek to celebrate what is discarded by highlighting what is abandoned. The materials I have sourced are mostly old unwanted books from charity shops. My studio work also reflects on my own sense of personal identity, family relationships, the influence of religious dogmas as I was growing up. These issues have been a fertile psychological ground for me to draw on and have all been re-evaluated through my developing studio practice.
postgraduate: mfa in fine art
226–227
Margot Galvin margotgalvin@gmail.com 086 402 6772
PROJECT TITLE Place IMAGE TITLE Untitled MEDIUM Screenprint on aluminium STATEMENT “Frequently people refer back to a certain place of origin as an exemplar against which all subsequent places are implicitly to be measured: to their birthplace ,their childhood home, or any other place that has had a significant influence on their lives. ...people are enthusiastic or nostalgic, at home in the world or out of sorts there, in relation to just such a place. To lack a primal place is to be 'homeless' indeed , not only in the literal sense of having no permanent sheltering structure but also as being without any effective means of orientation in a complex and confusing world.� Edward Casey
postgraduate: mfa in fine art
Liam Gough info@liamgough.com www.liamgough.com 085 113 2424
PROJECT TITLE Relics of The Moment Description Drawings, acid free ink on paper STATEMENT I am interested in the discarded object; used in the moment and then thrown away. A relic of the moment that has passed. Significance is given to these objects through looking and drawing; an intense engagement with their physicality. These images take the form of black line drawings balanced in space on stark white paper. The pure line is a true representation of the actuality of the object.
postgraduate: mfa in fine art
228–229
Raine Hozier-Byrne raine@raine.ie 086 246 7132
PROJECT TITLE Untitled DESCRIPTION Oil on canvas, 290 x 145cms, 290 x 105cms STATEMENT This research is an examination of contemporary sublime, subjective perception, memory and loss. Appropriating found media images into elaborate painted collages; I create images within images, in an attempt to challenge the nature of representation, outside the constraints of its self-identified associations. This series informed by the recent death of my parents asks how you represent the tension between being and not being, or even space filled with absence. This work generates subjective narratives, taking us to the limits of our understanding, where the very notion of what we know slips and fragments.
postgraduate: mfa in fine art
Ann Jenkinson annjenkinson1@gmail.com www.annjenkinson.com 087 285 2234
STATEMENT “...a layer beyond that of coherent figuration or narration without having to cut out representation altogether”
PROJECT TITLE Displacement DESCRIPTION Untitled, 2014, oil on canvas, 60 x 84cms
Magnus Plessen, 2012
postgraduate: mfa in fine art
Finding this ‘layer’, this vision, this level of imagination requires readjusting to ‘thinking and looking differently’ and to question the importance that may be placed on some traditional concepts of picture making. While appreciating the historical conflicts between representation and abstraction my research involves the presentation of these two styles in the one painting. The context of the work concerns displacement, disruption and destruction and the source material comes from my own photographs, from newspapers cuttings and from the internet. Traditional representation is included in the formal elements of line, shape, colour, light, dark, and of recognisable objects while the abstraction takes the form of sweeping gestural marks, drip painting and the erasing of paint to reveal previous traces. The attempt is to place all the elements on the one level thus giving equal attention to reality and imagination.
230–231
Denis Kelly info@deniskelly.ie www.deniskelly.ie 086 817 9824
PROJECT TITLE Untitled (Deep Blue) 3/14 DESCRIPTION Acrylic on Found Wood DIMENSIONS 50 x 40cm STATEMENT “But after all the aim of art is to create space...space in which the subjects of the painting can live. This is what painting has always been about.” Frank Stella My work is a playful, idiosyncratic response to the built environment and employs a strict reductive language that explores light, form and space. Ultimately, the intention is to allude rather than describe allowing curious forms to materialise and manifest within the painting, where tension is created by opposing and contradictory elements – figure/ground, control/chance, construction/destruction, revelation/concealment. Supported by Kildare County Council Arts Act Grant Scheme 2013.
postgraduate: mfa in fine art
Jane Locke hello@janelocke.ie www.janelocke.org
PROJECT TITLE The Cloud of Unknowing CAPTION FOR IMAGE Detail of presentation slide IMAGE CREDIT Jane Locke STATEMENT This body of research investigates the nature of truth and authenticity through the use of narrative fictions. Over a series of artist-initiated projects I have crept into workspaces at night leaving drawings to be found in the morning. Night after night, one drawing would add to the next to present strange, magical and absurd narratives; fictions which aim to make marvellous the real. The research has culminated in a mixture of live and recorded presentations which recount the details of these workplace adventures and the curious sequence of events that has resulted.
postgraduate: mfa in fine art
232–233
Therese Coyne Maher theresemaher08@gmail.com 086 369 7168
PROJECT TITLE Dear Departed MEDIUM Soft ground etching & aquatint STATEMENT My work to date has been largely inspired by stories about or involving animals. Most of these stories could be termed as dark humour blurring the boundaries of reality and fantasy.
postgraduate: mfa in fine art
Darina Meagher darina@darinameagher.com www.darinameagher.com 086 812 0756
postgraduate: mfa in fine art
PROJECT TITLE Trust: Amsterdam DESCRIPTION Oil on Board, 120 x 90cm STATEMENT An investigation through paint, true to paint, of the flat surface and its possibilities, exploring ideas about contemporary art and how the Internet affects structures in society. In these works, the handmade mark together with the humanness of a mistake, release us from the drone of technology. The painted illusion negotiates a forum for dialogue, somewhere beyond the screen and the picture frame.
234–235
Lesley-Ann O’Connell 04001028@student.ncad.ie ilikeirishweather@gmail.com 085 731 1061
PROJECT TITLE Two Reds Description Oil on canvas, 40 x 50cm, 2014 STATEMENT What are paintings but an accumulation of decisions with paint on the part of the artist at different times or a particular time caught within the one space. Such decisions either enhance or change the route of a work; they’re either driven by conscious intentions or subconscious drives. Allowing this sort of compressed time with all its inherent contradictions and affirmations, moods and feelings to be felt activates the surface for the viewer and makes for interesting paintings. It is something I seek for my own work.
postgraduate: mfa in fine art
Caroline Patten carolinempatten@gmail.com
PROJECT TITLE Untitled Description Acrylic on linen STATEMENT Painting both represents the world and creates its own world. Increasingly I move toward a more fragmented treatment of the figure. Characters on the canvas surface float like icons on a desktop screen, random and isolated.
postgraduate: mfa in fine art
236–237
Ann Marie Webb webbannmarie@gmail.com 086 154 1466
PROJECT TITLE Its life Jim... DESCRIPTION Oil on canvas 5.5 x 6.5ft STATEMENT I would like people to be pulled into my paintings, to experience the paint and the space created. My movements should be echoed in the image. I work the paintings the way I think of life, making decisions that play against what went before. The paintings are complete when I can’t make another mark or take one away. They are scaffolded by the past, live now, and talk of the future.
postgraduate: mfa in fine art
Irene Whyte irene.whyte1@gmail.com
PROJECT TITLE Compressed Reflection TITLE OF IMAGE Light Space Sounds, sculpture , April 2014 STATEMENT I Repeat Myself When Under Stress I Repeat Myself When Under Stress I Repeat Myself When Under Stress MOCAD 2009 This open work undertakes to provide an image of discontinuity, which would allow a new balance of associations between materials to emerge. Ambiguity is a fundamental feature, with the relationship between different elements remaining indeterminate.
postgraduate: mfa in fine art
238–239
Michelle Dunne alanahfive@gmail.com 087 293 9567
PROJECT TITLE Turning Darkness into Light DESCRIPTION Cuileann holly leaves STATEMENT Through the concept of Turning Darkness into Light I have taken the native Holly plant and put it through a process of degradation and transformed it into a material to work with within my practice. I have pigmented the material with a combination of metal ores and oxides to emphasise the correlation between the material and metal, through dyes that reflect the nourishment the earth provides. In summary, my work reflects the challenges that we face in life and the immense power we conceal in our hearts that enables us to pass through the darkness and grow, into the light.
postgraduate: ma in design – metal/jewellery
JOHN GILCHREST 086 816 1443
PROJECT TITLE Make•Connect DESCRIPTION A Pop Up Community Makerspace. Making. The older user. Social connection. STATEMENT Remaining engaged and socially connected pays dividends in older age. Small communities need more opportunity for this to happen. Make•Connect is a platform for maker activity, and social connection in the community. The system is optimised for older users, and evolves to suit their needs.
postgraduate: ma in design – industrial design
240–241
Brian Glancy brian.glancy@gmail.com 001 905 251 6025
PROJECT TITLE An investigation of the use of design thinking methodologies in an engineering led manufacturing company DESCRIPTION A design case study STATEMENT Many manufacturing companies have traditionally been led by innovations in technology, materials and manufacturing. As global manufacturing is slowly democratised through the use of digital media and the evolution of 3d printing technologies these companies endeavour to embrace the consumer in order to be more sustainable for the future. Within this new dynamic, it is crucial for companies to incorporate design-thinking methodologies into their product development process and focus on the triple bottom line model of “people, planet and profit�. Through the use of a case study, the designer reflects on how design thinking methodologies could be applied more effectively in a traditional engineering led company. The designer draws insights and recommendations through the development of a new socially responsible clothes dryer incorporating solar technology.
postgraduate: ma in design – industrial design
Kate Buckley katebuckley0@gmail.com
PROJECT TITLE An investigation into how space and architecture has influenced how O’Connell Street has been represented in the past 50 years. STATEMENT O’Connell Street is widely considered as the preeminent street in Dublin, the main street of Ireland. It is constantly written about and referred to in the history of Dublin, but the space of the street itself has not been analysed outside of a planning context. The street encapsulates the overall development of the city in its use of space and architectural form from 1750 to the present. This research explores, in the lead up to the centenary of 1916, the influence of various representations of O’Connell Street’s space and architecture.
postgraduate: ma in Design History and Material Culture
242–243
Aoife Dorney aoifedorney@gmail.com 086 385 6769
PROJECT TITLE Butter Wrappers STATEMENT Irish butter wrappers in the early twentieth century are a paradoxical mixture of the historic and the modern. This thesis analyses those wrappers from a design history perspective, attempting to place the wrappers as both producers and products of the formation of a national identity in the context of a nation in flux. It also takes a material culture view of butter itself, attempting to discover why butter was an ideal product as a proud carrier of the stamp of national identity. Butter production married a craft cottage industry with modernist consumer values. This thesis therefore discusses how the wrappers became powerful everyday souvenirs of the past.
postgraduate: ma in Design History and Material Culture
Colette Fitzpatrick fitzpac2@tcd.ie
PROJECT TITLE Aspects of Neoclassical dress in portraits in the Prints and Drawings collection of the National Library of Ireland. STATEMENT This dissertation uses the rich imagery of neoclassical dress presented by the collection of prints and drawings in the National Library of Ireland and to examine this mode of dress more closely. A multi-disciplinary approach is used to interpret the collection, which focuses on thematic issues such as difference of expression between the genders, appropriateness and occasion, artistic licence and ideal versus reality. In depth analysis of the topic aims to focus on areas, such as neoclassical hairstyles and male engagement with neoclassical clothing, which have been somewhat neglected.
postgraduate: ma in Design History and Material Culture
244–245
Charlotte Pollard chpollard@hotmail.co.uk
PROJECT TITLE Dispelling the myths of Nineteenthcentury pawnbroking: An in-depth analysis of George Attenborough and Son, pawnbroker, silversmith and jeweller: 1846-1896 PICTURE CAPTION The premises of George Attenborough & Son, pawnbrokers and jewellers: 193 Fleet Street, London. Photograph by Charlotte Pollard STATEMENT Pawnbroking is a trade marred by the stigma of debt, dramatised in literature as miserly profiteering from the misfortune of others, and identified as the penultimate step of the desperate poor to surrendering the body for the next nip of gin. This thesis establishes pawnbroking as a viable financial mechanism within the circulation of money and things, revealing the much overlooked utilisation of the trade by the upper classes in nineteenth-century London through the analysis of pledged item lists and the details of the people who pawned them in the ledger and sales book of City of London pawnbroker, George Attenborough and Son, 1846-1850.
postgraduate: ma in Design History and Material Culture
Gabrielle Qwynn PROJECT TITLE Treasure Beneath Our Feet Material DESCRIPTION Cultural Analysis of the Mosaics of the National Museum & Library, Kildare Street, Within A Global Financial Matrix PICTURE CAPTION Photograph by Gabrielle Qwynn STATEMENT The National Museum and National Library of Ireland, identified as an education centre for promoting industrial design, boast splendid 19th century mosaic floors described as images drawn from classical antiquities. Historiography has focused on nationalistic and political themes tending to ignore international financial interests behind their construction. This thesis examines previously unexplored provocative imagery within the mosaic floors that imply burgeoning global markets. Further analysis of the mosaics suggests that the building complex was intended as a vehicle to drive the compulsive urge of emerging middleclass markets fuelling conspicuous and dynamic global consumption.
postgraduate: ma in Design History and Material Culture
246–247
Pamela Ryan pamelarya@gmail.com 085 848 8123
PROJECT TITLE Subversive Practice and its material form: An examination of the material manifestation of the everyday in the work of Andrea Zittel IMAGE CAPTION Andrea Zittel, Study for A-Z Breeding Unit for Averaging Eight Breeds, 1993 STATEMENT My research into the practice of Andrea Zittel explores how artistic practices engage with design and material culture and where this point of convergence occurs. Through an interrogation of the everyday and its material form as well as a contextualisation of modernist ideology and consumption cultures, this work attempts to explore what new understanding can be gained and how we, as an audience or user, can further engage with and experience such a visual practice. Applying an approach of object analysis and social construction of the art objects and their social relations alongside critical theory, I would like to explore how practices combining material culture, design ideology and artistic engagement can create a material manifestation of critical theory.
postgraduate: ma in Design History and Material Culture
Dee Maguire dmaguire@olschool.ie
PROJECT TITLE Shining through the Smoke and Mirrors – An Investigation into Extra-Curricular Portfolio Preparation Tuition Image taken from an entrance portfolio which was developed with the assistance of one of the participants portfolio tutor in this study. STATEMENT My research investigated a grey area in visual arts education, namely the extra-curricular portfolio preparation class. Such initiatives come in many different guises and are designed to assist candidates in the construction of an entrance portfolio for art college entry. This mixed methods study comprised of a content analysis of published portfolio guidelines for entry to college 2013; semi-structured interviews of portfolio tutors and a survey of the 2013 NCAD portfolio panel. A main finding was the potential for successful classes to construct an appropriate habitus for a smoother transition from school to art college.
postgraduate: ma in visual arts education
248–249
cead
foreword: continuing education
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, day-time and evening. CEAD caters for a range of levels from beginners, to improvers and those seeking a route to professional status.
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, ceramics and jewellery design.
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 part-time Diploma. NCAD plans to provide a route to a part-time degree catering for students who choose to study part-time. Non-credit courses are offered to students who want return to third level art and design education 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 each summer and presents an excellent opportunity to view students work.
Diploma Students who have completed a part-time Certificate are eligible to apply to the part-time Diploma. This one year intensive course includes studio practice and visual culture. Students are required to attend two evenings a week, occasional week-ends and day-time blocks. This course aims to introduce students to concepts, ideas and research processes in art and design, as well as providing students with technical skills applicable to practice. On successful completion students are awarded a Diploma and are eligible to apply to year two of the under-graduate degree. Nuala Hunt Head of Continuing Education Email cead@ncad.ie for course information
Certificate Courses Drawing and Visual Investigation, (D+VI) this one year course provides students with knowledge, skills and an understanding of contemporary approaches to drawing and visual research. The course takes place two evenings a week over a twenty four week period. 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.
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Aisling Browne aislingbrowne74@gmail.com TITLE Untitled Medium Mixed media
Louisa De Las Casas louisadlc@hotmail.com TITLE Thing Medium Digital collage
continuing education in art and design: dvi
Aislinn Dunne superash2@gmail.com TITLE Crumpled Things (project) Medium Coloured pencil on paper
Diarmuid Kavanagh diarmuidkavanagh@gmail.com TITLE Beachcombings (from the Water's Edge project) Medium Indian ink, willow charcoal, white pastel, on watercolour paper
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Lorna Larkin lornalarkin@gmail.com TITLE IAMTHING Medium Collage and ink
Philomena Lyttleton pclyttleton@yahoo.co.uk TITLE Storm Chaos Medium Paper collage, black printing ink, markers
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Catriona Moloney caitrionamoloney04@gmail.com TITLE Manument Medium Performance, photograph, drawing
Theresa Mullan tmullan@outlook.ie TITLE Rooftops Medium Ink pen
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Suzanne O'Duffy soduffy@gmail.com TITLE Hybrid Robot/Bird (from project based on word 'Exchange') Medium Card, markers, pen
Linda Pearson pearson794@googlemail.com TITLE Untitled Medium Collages constructed from magazine and book images
continuing education in art and design: dvi
Amaia Arenzana www.amaiaarenzanaphotography.com TITLE The Passage Medium Fiber-base gelatin silver print
Kim Boland www.kimtakesphotos.com TITLE Grief Medium Shot on 4x5 transparency film, printed on Hahnemuhle paper
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John Brennan jpbrennan1@mac.com TITLE Bowling Green 1 Medium Digital photography
James Byrne jim@jimbyrnephoto.com TITLE The Irish Peerage Medium Digital image & colour print
continuing education in art and design: pdi
Daniel M Cisilino danielc1998@yahoo.com TITLE Cubism Medium Photography
Emily Clarke emilyvici@hotmail.com TITLE Blue Hue Medium Photography
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Gabor Herczegfalvi www.gaborhercz.prosite.com TITLE Queens of Dublin Medium Digital photography
Kalian Lo www.kalianlo.com TITLE Nobody Home Medium Polaroid camera 195, Fujifilm FP-100c
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Denis O'Shea info@denisosheaphotography.net TITLE TFIB #5 – Colouring sheet in Perspective as Symbolic Form by Erwin Panofsky Medium Photography; archival inkjet print and photo book
Sascha O Toole www.saschaotoole.com TITLE Persistence of Memory Medium Photography, video, audio
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Valda Bagnall valdab@live.ie TITLE The Old House Reveals Medium Gel transfer & acrylic paint
Miriam Brennan brennanmir@gmail.com TITLE City (mixed media project) Medium Acetate transfer, inks, pen
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Teresa Brzuszkiewicz-Skorzewska teresa3bs@gmail.com TITLE Night in a forest Medium Mixed media
Jennifer Cole jennifercole14@gmail.com TITLE Tomcat on Benzos Medium Oil, ink and acrylic on board
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Pavel Cristea pvlcrs@yahoo.co.uk TITLE Urban Landscape Medium Acrylic on board
Markus Davies markusdavies.blogspot.ie TITLE What Jack said… Medium Acrylic
continuing education in art and design: vap
Anne Ebeling anne_ebeling@yahoo.com TITLE Window Medium Oil on photographic print
Jean Fitzgerald jnicgearailt@yahoo.ie TITLE The Journey Medium Devoré hand painted silk viscose
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Patricia Hennessy patricia.hennessy@gmail.com TITLE No Petals Waste Medium Media used: oil paint on paper mounted on aluminium
Lorraine Hickey lccbamp@yahoo.co.uk TITLE Seashore Medium Monoprint
continuing education in art and design: vap
Blaithin Hughes blaithinh@hotmail.com TITLE In Memory Medium Transfer and acrylic on plywood
Katherine MacKeogh kay.mackeogh@dcu.ie TITLE Derry – city of culture Medium Acrylic on board
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Jean McCarthy jeanmc@eircom.net TITLE Interior 1 Medium Acrylic on canvas
Niall O'Brien niall.obrien@rockbreakers.ie TITLE Hands Medium Hands, pastel & charcoal on paper
continuing education in art and design: vap
Gwen O'Sullivan osullivan.gwen@gmail.com TITLE Sense of place Medium Quink ink on watercolour paper
Susan Reilly sctreilly@hotmail.com TITLE Whirlwind Medium Acrylic on oil paper
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Niall Tormey nialltormey@gmail.com TITLE City Windows Y Medium Mixed media
Irina Vorobieva projectsarafan@yahoo.com TITLE Untitled Medium Undyed linen; silk organza; fabric pigment, fabric dyes, discharge; silk screen printing; painting.Â
continuing education in art and design: vap
Mercedes Blanco mercebmartin@hotmail.com TITLE Found maps (project) Medium Photography
Sheila Byrne sheilabyrne2@hotmail.com TITLE Memory (project) Medium Acrylic paint, acrylic pouring medium and collage on board
continuing education in art and design: diploma
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Elaine Crowe elainecrowe@hotmail.com TITLE Tension & Compression Medium Acetate, thread, tiles
Pamela Doyle pamelacdoyle@hotmail.com TITLE O'commemorate me where there is water Medium Acrylic on gesso board
continuing education in art and design: diploma
Teresa Drislane treasaof@gmail.com TITLE Memory (project) Medium Acrylic
Dee Kerins deekerins@gmail.com TITLE Stack Medium Found object sculpture with steel table supports
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John MacMenamin jjjmmcc@gmail.com TITLE Range (detail) Medium Digital image, Photoshop
Aileen Malone aileendub@gmail.com TITLE Dragon Rider Medium Mixed media: branches, wax, paper mache, paper, paint
continuing education in art and design: diploma
Dorothy Moorhead dorothymoorhead@eircom.net TITLE Sculpture Found Sea bird Medium Wax
Donal Moriarty donalm1@hotmail.com TITLE Walter Gropius House 2 Medium Acetate etching
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Philip O Meara philip_omeara@hotmail.com TITLE Forgotten Spaces Medium Photography
Kate O Neill misskateon@gmail.com TITLE High Hopes Medium Mixed media
continuing education in art and design: diploma
Annabel Potterton annabelpotterton@hotmail.com TITLE Untitled Medium Acrylic on canvas
Susan Reid suereid3@hotmail.com TITLE Insideout Medium Gesso and acrylic
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Gary Reilly garyjoanneusherreilly@hotmail.com TITLE Meaningless work Medium Ink
Alicia Ruiz Lopez aliciaruizlopez@hotmail.com TITLE 4th Floor Medium Concrete and acetate
continuing education in art and design: diploma
Phyllis Ryan phyll_3@hotmail.com TITLE Untitled Medium Photography (of mixed media light installation)
Nathalie Slachmuylders nathalieslachmuylders@gmail.com TITLE The present lies ahead Medium Projection, gesso, readymades
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study at ncad
study at ncad
The National College of Art and Design is a community of 1,500 undergraduate, graduate and part-time students based on Thomas Street in Dublin city centre. NCAD students are engaged in a wide range of undergraduate, graduate and research programmes across the disciplines of Fine Art, Design, Education and Visual Culture. The NCAD College Open Day 2014 will be held on Wednesday 26th November 2014. 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
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nival: supporting living artists and the research community
In 1978, the first ever Librarian was appointed to the National College of Art & Design. Charged with the remit of developing a collection to support the teaching and learning of staff and students of the College, Edward Murphy began a process that would continue for the next 35 years: to build Ireland’s finest, most extensive, research-oriented collection of books and journals on International contemporary art, design and photography. Throughout his tenure, Edward supported the College and the wider visual arts community with visits to studios and exhibitions, collecting and retaining all of the available invitation cards, press releases and catalogues. Over time, a few boxes of material grew into a collection of more than 300 meters of contemporary visual arts documentation. Twenty years later, the National Irish Visual Arts Library was formally established as a public resource for research into Irish art and design, recognised and supported by the Arts Council and with significant contributions of material from The Hugh Lane Gallery, The Irish Museum of Modern Art and others. From a small independent initiative, ‘Project NIVAL’ has developed into a public research library of international importance. The essential objective of NIVAL is the documentation of Irish art and design from 1900 to the present day. NIVAL’s collection policy includes arts documentation from the whole island as well as information on Irish art abroad and non-Irish artists resident in Ireland. Material relating to Irish visual culture, in all its manifestations, is also collected. NIVAL provides a secure and permanent home for artist-generated documentation of their work. Nearly 5,000 artists are represented in the collection, many of whom have added their own material to the library, such as Sean
nival
Scully, Dorothy Cross, Willie Doherty, Patrick Scott, Robert Ballagh, Alice Maher, Gerard Byrne and Philip Treacy. Historic figures such as William Orpen, Harry Clarke, Jack B. Yeats, Sean Keating, Louis LeBrocquy and Oisin Kelly are also represented. In the role of archive/repository, NIVAL is building a public record of Irish visual cultural history. The collection documents thousands of projects and areas of research in the visual arts of national as well as global interest. NIVAL is ideally placed to facilitate evidence-based research and provide reliable current data on contemporary visual arts practice in Ireland. All activities undertaken by NIVAL foster and enhance the core functions of collection, preservation and dissemination of information. In the past few years, NIVAL has provided essential information resources for significant curatorial and publishing projects including Into the Light, the Arts Council’s 60th anniversary exhibition and publication; Generation, Temple Bar Gallery & Studios 30th anniversary project; Deconstructing Cubism and Patrick Scott at the Irish Museum of Modern Art; and the Royal Irish Academy’s forthcoming five volume publication The Art and Architecture of Ireland. NIVAL continues to work in partnership with NCAD Gallery to encourage public engagement with the archive by bringing it into the gallery space. more adventurous thinking… from the archive of Dorothy Walker, with artist’s response by Seamus Nolan, took place in summer 2013. An exhibition by artists’ group Floating World on the theme of NIVAL and the Artist’s Book is scheduled for March 2015.
Edward Murphy passed away before his time on 17th May 2014. He was a man of great vision, dedication and enormous personality and NIVAL is his living legacy. Donna Romano Librarian Visit www.nival.ie to learn more about the NIVAL collections and services.
Image of chair, coffee table and rug designed by Patrick Scott for Kilkenny Design Workshops, c.1980, Collection NIVAL/KDW/ID/139/05
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ncad gallery
Established in 2009, the NCAD Gallery is a public venue as well as the public face of the National College of Art and Design (NCAD). The Gallery supports contemporary practice and critical debate in visual arts practices and aims to reflect the diversity and strengths of the College by developing and promoting the future of art and design in Ireland via its exhibition programme. The gallery programme plays a significant and meaningful educational role and provides a context for contemporary practice nationally and in the immediate environment of NCAD. The intention is to integrate the content, discussion, and mediation of selected exhibitions into the College curriculum and at the same time deepen connections to the local area and the wider arts sector. The examples described in the following text typifies the ambition the Gallery has to lead as a space for research and debate by continuing to develop its programme and providing resources to facilitate contemporary discourse in the visual arts. In 2013/2014 the Gallery produced and promoted an expansive visual arts programme of exhibition, projects, performance, workshops and events. Over the past year or so the Gallery has been fortunate to invite and be invited to support, collaborate and partner with many organisations and institutions. Recent exhibition partnerships include: When I Leave These Landings, a solo exhibition by Jonathan Cummins, an NCAD Gallery exhibition partnership with Dublin City Gallery The Hugh Lane and VOID contemporary art space; the 1913 Tapestry: A Collaboration between NCAD and SIPTU, the outcome of an ambitious collaborative arts project, led by NCAD and the trade union, SIPTU; The Annual Institute of Designers in Ireland Awards Exhibition 2013 to coincide with Design Week 2013, also acknowledging Cumulus, the International Association of Universities and Colleges of Art, Design and Media Conference 2013 hosted by
ncad gallery
NCAD; and Learning from Peter Rice: Under the skin, an exhibition investigating the work of engineer Peter Rice in partnership with Dublin Institute of Technology (DIT). Ahead of the opening of Turner Prize 2013, NCAD were also delighted to host the REACT Mobile Studio tour. A project organised by Derry~Londonderry, UK City of Culture 2013 and Tate to allow a public audience in Dublin to respond to the Turner Prize 2013. The Gallery provides the opportunity for students, staff, invited practitioners, curators and theorists to experiment with, develop and publicly display their work by continuing to invite practitioners and welcome submission proposals. It provides the resources to facilitate contemporary discourse pertinent to art and design practitioners acting as a gateway in and out of the college by facilitating dialogue with departments within the College, presented also to the wider public. To accompany the recent National Irish Visual Arts Library (NIVAL) exhibition ‘more adventurous thinking...’ from the archive of Dorothy Walker... with artist response from Seamus Nolan at NCAD Gallery the Research Institute at NCAD organised the panel discussion Dorothy Walker: Continuing the Legacy. Another significant seminar event held at NCAD this year was, Expanding the Academy: Connecting Arts Pedagogy and Practice in Community Contexts, co-organised by the Rialto Youth Project, Fatima Groups United and NCAD on the occasion of the exhibition of the Contemporary Self-Portraits (CSP) Project in the NCAD Gallery. For the NCAD Season of Exhibitions 2014 the NCAD Gallery presents an exhibition of painting from graduates of the NCAD MFA and BA Fine Art painting departments 2013. Artists include Natasha Conway, Daniel Jackman, Eveleen Murphy, Andrew Simpson and George Warren. We hope you enjoy the show and return for more.
For the duration of the NCAD Season of Exhibitions 2014 the NCAD Gallery will open guided by degree exhibition hours thereafter returning to gallery opening hours of 1pm – 5pm, Tues – Fri. Admission is free. Please visit www.ncad.ie/about/gallery to read more about exhibitions and events programmed at the Gallery. Anne Kelly NCAD Gallery Curator
NCAD Gallery installation view of the exhibition ‘more adventurous thinking…’ from the archive of Dorothy Walker, with artist response from Seamus Nolan. 2013.
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origin8
Origin8 was set-up in 2013 as a centre for design innovation and commercialisation at the National College of Art and Design. Our remit is to foster design innovation and creative enterprise. Origin8 connects NCAD research to industry and commerce, as well as the cultural sector through a wide range of partnership projects. Origin8 is a contact point for clients interested in knowledge exchange. Clients can easily approach Origin8 to discuss their research or project needs. We have eight disciplines within the design faculty that offer a range of specialist or interdisciplinary design services to our patrons. – Ceramics – Fashion – Glass – Jewellery & Metals – Product – Textiles – Visual Communication – Medical Devices We work with a broad range of clients from large international corporations, to small to medium size enterprises, and for the serial entrepreneur. Frequently, clients approach us to carry out product and service development work. This can include generating prototypes to visualise, test or sell products. Research partners clearly see the value design can add at product conception. User interface design and human factors are now specialist research areas for many of our programmes. None more so than in our multidisciplinary Medical Devices postgraduate programme. Here, the researchers work directly with clinicians, pharmaceutical companies and other medical technology partners. Other design work can also include the visualisation of big data, website development, customer service journey design, branding and corporate identity. Many clients approach NCAD to commission bespoke public artwork, interior artworks, and trophy design.
origin8
We work closely with Enterprise Ireland through a range of funding schemes that support internal and external research and development work for NCAD staff, students and clients. Origin8 facilitates and coordinates campus company spin-outs. Our first two companies Gazel and Obeo spun out in March and May 2014. We are also keen to establish our first spin-in company who require specialist design expertise. Origin8 has now developed an intellectual property portfolio to license product design and medical devices to the manufacturing industry and potential investors. NCAD Origin8 and Nova – University College Dublin are a two party consortium under phase two of the Irish governments Technology Transfer Strengthening Initiative. Origin8 is developing links to other research partners such as Tyndall Institute, and National Digital Research Centre. The NCAD strategic objective is to deliver high educational impact. We are improving education through commercial, industrial and cultural engagement. The impact of this activity is to build our knowledge transfer capacity. The NCAD innovation and commercialisation research objective is to help indigenous companies increase Ireland’s economic competitiveness. Through creative enterprise and knowledge transfer we aim to generate and sustain employment in Ireland. We set out to demonstrate the effectiveness of Ireland’s public services and policy. Derek McGarry Head of Design Innovation & Commercialisation
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NCAD, with the support of Irish Distillers Pernod Ricard, is embarking on a project which will present the heritage and history of the College campus. Formerly housing the John Power & Son Irish Whiskey Distillery, and the Thomas Street Fire Station, the site now houses Ireland’s premier art and design institution. This initiative will be developed in the context of the Fåilte Ireland Dubline Discovery Trail, running from Trinity College to the Irish Museum of Modern Art and Kilmainham Gaol, which will be further developed in the next few years. Irish Distillers Pernod Ricard, the owners of Powers Irish Whiskey, are providing resources, material and archive support for the significant untold story of Dublin 8 to reach a wide public of citizens and visitors, in the near future. NCAD is grateful to Irish Distillers Pernod Ricard for their support of the catalogue for the Season of Exhibitions this year.
GRADUATE EXHIBITION
graduate exhibition locations
faculty of design
faculty of fine art
ceramics Granary Building, Craft Entrance
fine print Granary Building, First Floor
glass Granary Building, Craft Entrance
media John Street West Building & Red Square
jewellery & metalwork Design Building, First Floor
painting Granary Building, Third Floor & Noel Sheridan Lecture Theatre
fashion Design Building, Ground Floor industrial design Design Building, Ground Floor textile art & artefact Granary Building, Second Floor textile surface design Design Building, First Floor visual communication Design Building, First Floor industry projects Design Building, Ground Floor faculty of education Design Building, Second Floor
GRADUATE EXHIBITION locations
sculpture Granary Building, Ground Floor, Red Square & Resin Room postgraduate MA Art in the Digital World Emmet House, 138-140 Thomas Street & Red Square MFA in Fine Art Emmet House, 138-140 Thomas Street MA in Design Design Building, Ground Floor cead exhibition Design Building Ground & First Floor
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R BO OL I V E
ND S T
RE E T
Car park
Granary building Main Entrance Bridgefoot Street
Edward Murphy LIBRARY
Noel Sheridan LEcture Theatre
GRANARY BUILDING CRAFT ENTRANCE HARRY CLARKE Lecture theatre HARRY CLARKE HOUSE Entrance Emmet House
S T RE E T
NCAD GALLERY
MEATH STREE T
Thomas Court map of ncad campus
T HOM A S
S T AUG
ORIGIN8
US T INE S T RE E
SCHOOL OF DESIGN
T
RED SQUARE
resin Room Entrance
JOHN STREET WEST BUILDING JOH N ST
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RE E T
JOHN'S LANE WEST
Luncheonette
ENTRANCE
RECEPTION
map of ncad campus
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First published in 2014 by the National College of Art & Design Coláiste Náisiúnta EalaÍne is Deartha NCAD is a Recognised College of University College Dublin © June 2014 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 2014. Catalogue compiled by Gemma Duke, Development Manager, Ncad Photography on pgs 005, 006, 008, 114, 128, 206, 210, 250, 281 by Matthew Thompson Designed by www.reddog.ie Printed by Inkspot Members of An Bord Seán O’Laoire, Chairman Prof. Declan McGonagle, Director Adrienne Eacrett Octavian Fitzherbert Orla Flynn Peter Johnson Suzanne Macdougald Lucy McCaffrey Dr Paul O’Brien Helen Steele Oliver Whelan Collette O’Sullivan, Non-Academic Observer
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100 thomas street, dublin 8 www.ncad.ie