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This archival book came about because I wished to gather a record of the various thought processes throughout my work, so I could understand my own ways a little more deeply. I wanted to follow the lines between each project, to see the connections more clearly... to me they are almost like conversations dropped off and continued, my own diary pages really. The intention is to show a description from the insides out, I suppose.
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The complete publication is a constructed of two parts, which merge and intersect at various intervals. This first section alphabetically organises each of my references, taking you through a myriad of visual avenues, lyrical scripts and meandering dialogues.
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A R T I S T S DIANE ARBUS: Brenda Diana Duff Frazier, Debutante of the Year, at home, 1966. Copyright © Estate of Diane Arbus, 1966. Esquire Collection, Spencer Museum of Art, University of Kansas TWINS: Diane Arbus, theindecisivemoment.wordpress.com LOUISE BOURGEOIS: interviewed by Becky Poostchi, Pop Magazine, Issue 22, pg 162-3, Spring/Summer 2010 WILLIAM WEGMAN: Fashion Photographs, published by Harry N Abrams, Inc, New York, Walk-a-thon shoes, Dolce & Gabbana, 1999
UNTITLED #978: Petah Coyne, Gertrude and Juliana (The Whitney Women), Mixed media, 1999-2000 SOFA HUGS MICROWAVE: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09 UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09 UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09 B A T T E R E D H O U S E S ALL USED UP: 35 Upper Mount St., Merrion Square, Dublin 2, 18/02/09 BATTERED HOUSES: 35 Upper Mount St., Merrion Square, Dublin 2, 18/02/09
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D C N M H U UNTITLED: 35 Upper Mount St., Merrion C L O MAGAZINE TEAR: Source unknown CLOWNS: Photographs by Cindy Sherman. Schirmer/mosel Verlag, Germany, 2004. CLOWNS: Photographs by Cindy Sherman. Schirmer/mosel Verlag, Germany, 2004.
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SIDE BY SIDE: 35 Upper Mount St., Merrion Square, Dublin 2, 18/02/09 CONSTRUCTION: 35 Upper Mount St., Merrion Square, Dublin 2, 02/03/09 UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 02/03/09 UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 02/03/09 SOFA HUGS MICROWAVE: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09 UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09 UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09 UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09 B L A T H N A I D
R C Square, Dublin 2, 12/04/09 W N Text and essay by 64 pp., 19 colour Text and essay by 64 pp., 19 colour
Maik Schlute, illustrations Maik Schlute, illustrations
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TSETAERG EHT
Once I wanted to be the greatest No wind or waterfall could stall me And then came the rush of the flood Stars of night turned deep to dust
Melt me down Into big black armor Leave no trace of grace Just in your honor Lower me down To culprit south Make ‘em wash a space in town For the lead And the dregs of my bed I’ve been sleepin’ Lower me down Pin me in Secure the grounds For the later parade Once I wanted to be the greatest Two fists of solid rock With brains that could explain Any feeling Lower me down Pin me in Secure the grounds For the lead And the dregs of my bed I’ve been sleepin’ For the later parade
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Once I wanted to be the greatest No wind or waterfall could stall me And then came the rush of the flood Stars of night turned deep to dust Lyrics by Chan Marshall (Cat Stevens)
MAGAZINE TEAR: Italian Vogue, published by Conde Naste publications, 1980’s? UNTITLED: The irrepressibles in this shirt from the film ”The Forgotten Circus” devised and directed by Shelly Love, www.vidoemo.com/yvideo C O N S T R U C T I O N UNTITLED: Process room, NCAD, Dublin, 13/03/09 UNTITLED: Process room, NCAD, Dublin, 13/03/09 UNTITLED: Process room, NCAD, Dublin, 28/01/09 UNTITLED: Process room, NCAD, Dublin, 28/01/09 UNTITLED: Process room, NCAD, Dublin, 15/01/09
UNTITLED: Process room, NCAD, Dublin, 15/01/09 D A N C E UNTITLED: www.eatfrenchbread.com/art-on-legs LEIGH BOWERY: www.leighbowery.com UNTITLED: greyaviary.blogspot.com THE EXTRAVAGANT EXTROVERT LEIGH BOWERY: Documentary, includes links to a photo gallery, www.bbc.co.uk/bbcfour/documentaries/.../leigh-bowery.shtml MARK CARBERRY: Dagdha Dance Space, Limerick, 2007 PIGEON: Mark Carberry, dance performance (10’), Back Loft, Dublin, 22/09/07
THE GREATEST FLIGHT
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DESIGNERS UNTITLED: mamuskanights.blogspot.com/2007 MICHAEL CLARK: Choreographer, www.londondance.com UNTITLED: www.nationalgalleries.org/collection/online UNTITLED: www.guardian.co.uk/stage/2009/.../guide-dance-michael-clark SWAMP: Michal Clark revival by Rambert Dance Company, www.youtube.com/ watch?v=BTrDRaHz0HQ, 2004 MICHAEL CLARK COMPANY @ BARBICAN: www.londonist.com/2009/10/dance_review_ michael_clark_company RANDOM DANCE COMPANY: www.randomdance.org
CHROMA FOR THE ROYAL BALLET: Wayne McGregor, www.londondance.com/news LOSS OF CONTROL ATAXIA: Choreography by Wayne McGregor, Random Dance Company performed in Lincoln D E S I G N E R S JUN TAKAHASHI: Designer, www.hintmag.com/supernova, 04/07/06 UNDERCOVER: Jun Takahashi, www.fashionatas.tribe.net/photos, 2006 UNTITLED: www.amagazinecuratedby.com/juntakahashiundercover FIVE GRACES: The dolls of Jun Takahashi, www.ablogcuratedby.com, Undercover’s e-MOOK UNDERCOVERISM Less but Better magazine
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FORGETTING MEMORIES
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UNTITLED: www.hypebeast.com UNTITLED: readysetfashion.blogspot.com MAGAZINE TEAR: Source unidentified REGINA RELANG: jackiejuly.tumblr.com/ REGINA RELANG: The Elegant World Of Regina Relang, edited by Esther Ruelfs and Ulrich Pohlmann, Hatje Cantz, 2005 F L I G H T BIRD DRAWING: Sibyl Montague (artist) CAT POWER: “The Greatest”
A DEAD CROW: Found outside my house, photographed on a windowsill. LYRICS FOR THE GREATEST: www.songmeanings.net/ THE BEAT OF MY HEART: Pinar Yolacan (artist), I-D Vol 11/11 No.252, The Feminist Issue, page 92, www.rivingtonarms.com BIRD COLLAGE: Source unidentified MY BETE NOIRE: Ione Pucquoi (artist), www.ionerucquoi.com/home.html THE DARK: Photographed at the graveyard THE BEAT OF A BIRD TOO FAST FOR MY HEART: Photographed at the graveyard QUIETNESS: Photographed at the graveyard
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Dialogue is really aimed at going into the whole thought process and changing the way the thought process occurs collectively. We haven’t really paid much attention to thought as a process. We have ENGAGED in thoughts, but we have only paid attention to the content, not to the process. Why does thought require attention? Everything requires attention, really. If we ran machines without paying attention to them, they would break down. Our thought, too, is a process, and it requires attention, otherwise it’s going to go wrong. In such a dialogue, when one person says something, the other person does not, in general, UNTITLED: Source unknown CLERMONT: Regina Maria Roche, edited by Natalie Schroeder, 1798 UNTITLED: www.flexyourplastic.co.uk G R A N N Y PHOTOGRAPH OF GRANNY: Sarah Meegan’s handbag STILL: Prada photoshoot, source unidentifiable GRANNY SARAH MEEGAN: Lough Egish, Co. Monaghan, Christmas, 2007 PEASANTS IN FESTIVE CLOTHES: Nizhegorodskaya province, Russia. Courtesy of The State Historical Museum, 1900’s
DAZED AND CONFUSED: Edited by Jefferson Hack and Rankin, published by Waddell Limited, London, 2008 G R E G A R D E N GREY GARDENS: Documentary directed by Albert Maysles and David Maysles, starring Edith “Big Edie” Ewing Bouvier Beale and Edith “Little Edie” Bouvier Beale. Distributed by The Criterion Collection, USA, 27/09/75 BIG EDDIE: Photographic still taken from documentary “Grey Gardens” LITTLE EDDIE: Photographic still taken from documentary “Grey Gardens”
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THE MAYSLES BROTHERS: Photographic still taken from documentary “Grey Gardens” EDITH BOUVIER BEALE’S OBITUARY: The Guardian, written by journalist Sue Woodman, www.guardian.co.uk/news/2002/feb/09/guardianobituaries, 09/02/02 UNTITLED: greygardensnews.blogspot.com/ LITTLE EDDIE: Photographic still taken from documentary “Grey Gardens” LITTLE EDDIE: Photographic still taken from documentary “Grey Gardens” UNTITLED: Photographic still from photoshoot taken at Kilmurry Ibricken, Quilty, Co.Clare, 2006. Coincidentally the Bouviers had visited with their
au-pair named Griffin, date unknown UNTITLED: Photographic still from photoshoot taken at Kilmurry Ibricken, Quilty, Co.Clare, 2006. Coincidentally the Bouviers had visited with their au-pair named Griffin, date unknown H O R S E & L I N O UNTITLED: www.zazzle.com HORSES WHO LOVE FURNITURE: Studio, 35 Upper Mount St., Merrion Square,
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Dublin 2, 26/03/09 UNTITLED: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 26/03/09 MY WASHING LINE: March, 2009 FABRIC OF CURTAINS IN CHILD BEDROOM UNTITLED: www.chem.monash.edu UNTITLED: www.breyer-horses.allaboardtoys.com/breyer-horses UNTITLED: www.ioffer.com/si/carousel+horses I N T E R I O R UNTITLED: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009
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respond with exactly the same meaning as that seen by the first person. Rather, the meanings are only similar and not identical. Thus, when the 2nd person replies, the 1st person sees a difference between what he meant to say and what the other person understood. On considering this difference, he may then be able to see something new, which is relevant both to his own views and to those of the other person. And so it can go back and forth, with the continual emergence of a new content that is common to both participants. Thus, in a dialogue, each person does not attempt to make common certain ideas or items of information that are already known to him. Rather, it may be said that two people are making something in common, i.e., creating something new together. (from On Dialogue) It seems then that the main trouble is that the other person is the one who is prejudiced and not listening. After all, it is easy for each one of us to see that other people are ‘blocked’ about certain questions, so that without being aware of it, they are avoiding the confrontation of contradictions in certain ideas that may be extremely dear to them. The very nature of such a ‘block’ is, however, that it is a kind of insensitivity or ‘anesthesia’ about one’s own contradictions. Evidently then, what is crucial is to be aware of the nature of one’s own ‘blocks’. If one is alert and attentive, he can see for example that whenever certain questions arise, there are fleeting sensations of fear, which push him away from consideration of those questions, and
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The first time you’re unfaithful won’t be the worst time you’re unfaithful.
It will probably just be a kiss with a stranger when you’re on the piss. But next time, you might fuck him or, even worse, you might suck him. I know I said I’d want to know but that depends how far you go.
MARK CARBERRY: Dancer, photographed during research for “Granny’s Blanket Factory” BEAUTIFUL MARK MARK & NATALIE M A T H E M A T I C S ALEXIS CLANCY (mathematican): Photographed in his work room, Limerick, 2007 BOHMS DIALOGUE: J. Krishnamurti with Prof. David Bohm in conversation, video.google.com/videoplay?docid=-5493135277782860485# CHALK AND BLACKBOARDS: Photograph of our process, Limerick, 2007
EPSILON THEORY: Photograph of process taken in Alexis Clancy’s workroom, Limerick, 2007 MOEBIUS STRIP: Photograph of moebius strip on acetate, 2007 GODELS INCOMPLETNESS THEORY: www.math.mind-crafts.com/godels_incompleteness_ theorems GURDJLEFF MOVEMENT: Photocopy of research notebook for “Knot”, 2007 IMAGES OF FRACTALS: www.worldscinet.com MOEBIUS STRIPS: Tear from research notebook for “Knot”, 2007 MOEBIUS: Photographed strip of acetate printed (on the right). Bifurication
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of pleasure, which attract his thoughts and cause them to be occupied with other questions. So, one is able to keep away from whatever it is that he thinks may disturb him. And as a result, he can be subtle at defending his own ideas, when he supposes that he is really listening to what other people have to say. When we come together to talk, or otherwise to act in common, can each one of us be aware of the subtle fear and pleasure sensations that ‘block’ the ability to listen freely?
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How do you think we will adjust, now we’ve incorporated lust? And will you put my trust to test if the shagging’s not the best? You said you know what I’m like. We were chatting with your sister, I was winding you up - you think I’ve missed her. And she was fairly adamant I’m nothing but a lying cunt.
Once I’ve got a taste for it, I’ve everything to waste for it. So do you think I can adjust, now we’ve incorporated lust? Or will I put your trust to test when my behaviours not its best? You said you know what I’m like.
She said the first time I’m unfaithful won’t be the worst time I’m unfaithful
diagram of a logistic map, displaying chaotic behaviour past a threshold (left) FRACTALS AS SEA CREATURES: Julia Set and Mandelbrot Set, www.evl.uic.edu/ luc/488/lecture13.html PROCESS: Photographs PROCESS: Photographs PROCESS: Photographs A MATHEMATICAL VISION OF BEAUTY PROCESS: Photographs
M O T H E R S BRIDIE MEEGAN: Photograph of my mother taken at the family home, late 70’s A DRESS WITHIN A DRESS: Photograph of printed ostrich lining, 2006 MY MOTHERS DRESS LAID OUT ON BED: Photographed 2006 MOTHER DAUGHTER RELATIONSHIPS: A collage I made WILD STRAWBERRIES: Directed by Ingmar Bergman. Distributed by A.B. Svensk Filmindustri, Sweden, 1958 THE SADNESS OF MISSING THINGS: Photographed on my bed, 2006 M U S I C
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THE COCKEETES
T TED HUGHES
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PORCELAIN DOLLS
PETER PAN PAUL BAILEY
ARAB STRAP: Aidan Moffat and Malcolm Middleton. The Album Philophobia, released under the Label Chemikal Underground, www.arabstrap.co.uk, 1998 THE FIRST TIME YOU’RE UNFAITHFUL: Lyrics, www.lyred.com/lyrics/Arab+Strap/ Philophobia PERSONAL JESUS: Johnny Cash, American IV. Produced bz Rick Rubin, 2004 M Y T H O L O G Y UNTITLED: www.celticmythpodshow.com/blog/ UNTITLED: A.A. Attanasio Honolulu, 1992 N U N S
B R E A D & J A M UNTITLED: www.stlouismonaghan.com UNTITLED: www.stlouis.ie/nuns THIRTEEN IRISH NUNS: Rangoon, images.google.co.uk, 1945 O R N A M E N T S DECORATING: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 02/02/09 UNTITLED: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 02/02/09
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MASKING TAPE: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 02/02/09 ORNAMENTS: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 02/02/09 SOFA HUGS MICROWAVE: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 02/02/09 THINGS THAT HOLD THINGS IN PLACE: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 02/02/09 O S T R I C H E S FOTO WILD LIFE PARK: www.fotawildlife.ie TEAR FROM SKETCHBOOK: Study of ostrich, 2006
THORSTEN BRINKMANN
THE COMIC BOOK
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TEA FOR TWO
THINGS I LISTENED TO
I’M A BIRD GIRL
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TEAR FROM SKETCHBOOK: Study of ostrich, 2006 SIGGI AS OSTRICH: 2006 MAGAZINE TEAR: Source Unknown ROLE PLAY O X F A R E S T Y L E UNTITLED: www.oxfamireland.org/shops/news/2009/restyled-for-oxfam.shtml UNTITLED: www.oxfamireland.org/shops/news/.../restyled-for-oxfam P A U
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Some days I just wanna up and call it quits, I feel like I’m surrounded by a wall of bricks, Everytime I go to get up, I just fall in pits, My life’s like one great big ball of shit, If I could just put it all into all I spit, Instead of always trying to swallow it, Instead of staring at this wall and shit, While I sit, writer’s block, sick of all this shit,
Can’t call it shit, all I know is I’m about to hit the wall,
LRIG DRIB A M'I
If I have to see another one of mom’s alcoholic fits, This is it, last straw, that’s all, that’s it,
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I ain’t dealing with another fuckin’ politic,
I’m like a skillet bubbling until it filters up,
I’m about to kill it, I can feel it building up, Blow this building up, I’ve been sealed enough, My cup runneth over, I done filled it up, The pen explodes and busts, ink spills my guts,
girl now I’ve got my heart
Here in my hands now
You think all I do is stand here and feel my nuts, Well I’m-a show you what, you gon’ feel my rush,
I’ve been searching
You don’t feel it, then it must be too real to touch, Peel the Dutch, I’m about to tear shit up,
For my wings some time
Goosebumps, yeah, I’m-a make your hair sit up, Yeah sit up, I’m-a tell you who I be,
I’m gonna be born
I’m-a make you hate me, ‘cause you ain’t me, You ain’t, it ain’t too late to finally see,
Into soon the sky
What you closed-minded fucks were too blind to see, Whoever finds me’s gonna get a finder’s fee,
‘Cause I’m a bird girl
Out this world, ain’t no one out they mind as me, You need peace of mind? Here’s a piece of mine,
And the bird girls go
All I need’s a line, but sometimes I don’t always find the words to rhyme,
to heaven
to express how I’m really feeling at that time, yea sometimes, sometimes, sometimes
I’m a bird girl
it’s just sometimes, it’s always me.
OWT ROF AET
Picture you upon my knee, Just tea for two And two for tea
I am a bird
Just me for you And you for me alone Nobody near us to see us or hear us, No friends or relations On weekend vacations, We won’t have it known, dear, That we own a telephone, dear... B A I L E Y SITUATION I: Large-format photograph, www.misterpaulbailey.com P E T E R P A N SHOES: Photograph of shoes bought in Armstrong’s Vintage Emporium, The Grass Market, Edinburgh PETER PAN: Cover of 1915 edition of J.M. Barrie’s novel, first published in 1911, illustrated by F.D. Bedford UNTITLED: Scanned images from childhood Peter Pan book
UNTITLED: Scanned images from childhood Peter Pan book PETER PAN: Scanned images from M. Barrie’s book Peter Pan in Kensington Gardens with Arthur Rackham illustrations P O R C E L A I D O L L THE DOLL: Text by Carl Fox. Photography by H.Landshoff, pg 23, plate 3, published by Harry N Abrams, New York (Bisque doll, German c 1900) JUMEAU TALKING BEBES: French, c.1895, plate 14, pg 66 STEINER BISQUE DOLLS: French, c.1880, plate 18, pg 70
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How dark can these hallways be? The clock strikes midnight, one, two, then half past three, This half-assed rhyme, with this half-assed piece of paper, I’m desperate at my desk, If I could just get the rest of this shit off my chest again, Stuck in a slump, can’t think of nothing, Fuck I’m stumped, but wait, here comes something, Nope, it’s not good enough, scribble it out, new pad,
And the bird girls can fly Bird girls can fly . . .
crinkle it up and throw the shit out I’m fizzlin’ now, thought I figured it out ball’s in my court, but I’m scared to dribble it out I’m afraid, but why am I afraid, why am I a slave to this trade? Sign that I’ll spit to the grave, real enough to rile you up Want me to flip it, I can rip it any style you want I’m-a switch hitter bitch, Jimmy Smith ain’t a quitter I’m-a sit it here ‘til I get enough of me to finally hit a fucking boiling point, put some oil on your joints, flip the coin bitch, come get destroyed, an MC’s worst dream, I make ‘em tense, they hate me, see me and shake like a chain-linked fence, by the looks of ‘em you would swear that Jaws was comin’, by the screams of ‘em, you would swear I’m sawin’ someone, by the way they running, you would swear the law was comin’, It’s now or never, and tonight it’s all or nothing, Mama, Jimmy keeps leaving on us, he said he’d be back, he pinky promised, I don’t think he’s honest, I’ll be back baby, I just gotta beat this clock fuck this clock, I’m-a make ‘em eat this watch, Don’t believe me? Watch, I’m-a win this race, and I’m-a come back and rub my shit in your face, bitch! I found my niche, you gonna hear my voice, ‘til you’re sick of it, you ain’t gonna have a choice, if I gotta scream till I have half a lung, if I have half a chance I’ll grab it, Rabbit Run...
Day will break and you’ll wake, And start to bake a sugar cake For me to take for all the boys to see We will raise a family A boy for you And a girl for me Oh, can’t you see how happy we would be...
WAX-HEAD DOLL: English, c.1882, plate 28, pg 81 BRU BISQUE: French, c.1882, plate 69, pg 151 BISQUE DOLL: Probably French, late nineteenth century, plate 71, pg 154 ILLUSTRATED DOLLS: Uni R I C H A R G R E UNTITLED: The Observer Magazine, 15/10/00 UNTITLED: Illustration for Alexander McQueen UNTITLED: www.art-dept.com/illustration/gray/index
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S A M T A Y L O R W O O D BRAM STOKER’S CHAIR: Sam Taylor-Wood, self-portrait “Suspended” and “Escape Artist”, White Cube Gallery, London BRAM STOKERS CHAIR II: Sam Taylor-Wood ESCAPE ARTIST 2: Sam Taylor-Wood IVAN: Sam Taylor-Wood, C-Type photograph, image via Artnet, www.artfagcity. com SUSPENDED VII: Sam Taylor-Wood, self-portrait
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T E D H U G H E S UNTITLED: Photo of my arm clasp with printed words from Ted Hughes’ “The Crow” poem CROW: Ted Hughes, “Crow’s Nerve Fails”, pg 47, The Life & Songs of the Crow, published by Faber and Faber, Uk, 1978 UNTITLED: American artist Leonard Baskin drawing for the first edition CROW: Ted Hughes, “Crow Blacker Than Ever”, pg 69, The Life & Songs of the Crow, published by Faber and Faber, Uk, 1978 LEONARD BASKIN’S DRAWINGS: Ted Hughes, Crow: The Life & Songs of the Crow LEONARD BASKIN’S DRAWINGS: Ted Hughes, Crow: The Life & Songs of the Crow LEONARD BASKIN’S DRAWINGS: Ted Hughes, Crow: The Life & Songs of the Crow T H E C O C K E T T E S THE COCKETTES: Documentary directed by Bill Weber and David Weissman, USA, 2002 NOCTURNAL DREAM SHOW: Steven F. Arnold lets the Cockettes perform as part of his show at the Palace Theatre in San Francisco’s North Beach neighbourhood, 31/12/69 THE COCKETTES: Photographic still from “The Cockettes” documentary DIANE VREELAND: Photographed at the Anderson Theatre, New York, Vogue magazine, published by Conde Naste, date unidentifiable UNTITLED: www.cockettes.com COCKETTES RETURN: Gerry Visco, Gay City News, 12/06/08 HIBISCUS: The Cockettes, www.brightlightsfilm.com/37/cockettes THE COCKETTES ARE COMING!: www.salon.com T H E C O M I C B O O K THE CROW: James O’Barr, released by Caliber T H I N G S I L I S T E N E D T O ANTHONY AND THE JOHNSONS: “I am A Bird Now”, the critically acclaimed album featuring the Johnsons plus special guests Julia Yasuda, Lou Reed, Devendra Banhart, Rufus Wainwright and Boy George. Photography by Peter Hujar, Don Felix Cervantes and Josef Astor UNTITLED: www.alwaysontherun.net/antony.html UNTITLED: www.antonyandthejohnsons.com UNTITLED: www.secretlycanadian.com/.../antonypress.php THE BEAUVOIRS SINGING TEA FOR TWO: Edith “Big Edie” Bouvier Beale, Tea for Two (sung in the documentary “Grey Gardens”), www.youtube.com/ watch?v=AjVqRg0swS4 EMINEM: Whatever you say I am, the life and times of Eminem, Anthony Bozza, Bantham Press, 2003 UNTITLED: www.sing365.com/.../run-rabbit-run-lyrics-eminem HANGOVERS: Photograph the morning after wine bender, 2006 SIGGI: Photograph taken at Clare St. Campus, LSAD, Limerick, 2006 T H O R S T E N B R I N K M A N N UNTITLED: www.thorstenbrinkmann.com DESIGN FOR MANKIND: Self-portrait, www.kunstagenten.com DRUNE QUOLI & MONTE DEL SNOW: Thorsten Brinkmann, 2007 UNTITLED: www.damnmagazine.net W A L L P A P E R UNTITLED: Wallpaper falling away in studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009 UNTITLED: Wallpaper falling away in studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009 UNTITLED: Wallpaper falling away in studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009 UNTITLED: Wallpaper falling away in studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009 UNTITLED: Wallpaper falling away in studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009 UNTITLED: Wallpaper falling away in studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009 UNTITLED: Wallpaper falling away in studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009 E N D
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Fundamentally this collaboration stems from a common interest in being involved with others in the art making process. Through conversations and just hanging out, it is clear that despite our backgrounds in different disciplines our aim is to create work that engages with concerns such as theatricality, performance, space, movement, materiality, functionality and structures of things. Two of the most important aspects of this work are in the dialogue and working out of ideas. The three of us [Natalie, Mark & Blath] are incredibly excited about actively partaking in dynamic processed-based projects. For us, all the interest lies mainly in what exists and unfolds throughout the process as opposed to a quest for a finished piece. Each time we come to some conclusions it merely facilitates a base that provides an arena for many points of departure. Through the constant playing out of ideas, dialogue and documenting, we are finding our own individual concerns in our own art, design and dance practices are constantly being bandied about and intersect inevitably enhancing practice and discovery. We see this project as work that will keep on evolving over time and will be exhibited/ performed here and abroad. Space and site are recurring topics of discussion, the salient features of an environment and the disparate elements that exist in the specific site. My own practice is concerned with the assemblage, dis-assemblage and re-assemblage of structure: dissecting, multiplying, juxtaposing, isolating and reducing elements. By engaging with binary opposites( man-made world and the natural world, light and dark, big scale and small etc.) and by investigating where they intersect, their points of departure, the effect they have on each other and on the space, visible systems are put through many different processes, their constituent parts stripped bare and previous understandings of the world are problematical. It is very important that the work is in constant flux and it is through these movements and explorations that more questions and challenges arise. The work manifests itself in 2D and 3D; however, the investigation is always concerned with negotiating space and the relationship that exists between objects, lines, color and form, be it on the surface of the picture plane or three dimensionally. Through dialogue it is apparent that the three of us see each new space that we inhabit as an opportunity for a new source of interplay, a chance to enter into dialogue with the work, to interact with the environment in a very energetic, spontaneous way. Each time we spend time adds another layer to an already rich pot of ideas and even helps us to seep into each others practices. To have this opportunity to work within this project has for me certainly only fuelled my desire to engage with other artists across a wide and varied landscape of disciplines. To date the work Granny’s Blanket Factory has created has generated a playfulness that at times goes astray within the confines of the studio and an abundance of creative energy that has the three of us going back for more.
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We started as friends... Squatting just became our new hobby in... ...hi-jacking confined spaces? ...a curiosity in my interaction with specific stuff staying true to the overlapping of all of our shared ideas. [Dublin] Finding systems which can support a new language I see myself as “traces” in the space: traces of human life in the ultimate the living breathing human body. What is my impulse to begin moving, speaking? Living with/sharing space and the compromise... I’m not going to perform. I’m allowing space for my own being, forgetting, remembering, telling truths and making up lies. I think to myself! The old man and the child in the ages year old me... Finding a confidence in my new found language... blah blah blah Relationships with discarded objects. The living body amongst the “man made”. Returning to the most basic of interactions... While moving in the space I ask myself what is my relationship to what is around me? The interaction that comes out of not knowing is my interest... Choreographing nothingness... Morphing while this thinking occurs... Confusing myself into another way of thinking... The body and mind in constant motion and or allowing the space to create new modes of thinking: morphing interacting speaking sharing forgetting remembering truths lies
What happens when you move a piece of furniture, sweep up an old carpet are you hiding or dusting off or replacing memories and stories? What happens to these memories, the footprints the dust? What fills the space? Is it important, the placement of things does it reflect out own position in the world our world our stature? Do places, things hold memories or is it just our attachment is this passed down this weird melancholy to ugly things? Are situations created because of this? What lingers behind? Industrial memory? Things that keep? A snail silvery threads... I wear my memories like a blanket, like a shield away from outside things. The idea of reusing dismantling metaphorphsis Is it important, the placement of things does it reflect out own position in the world our world our stature? Do places things hold memories or is it just our attachment is this passed down this weird melancholy to ugly things are situations created because of this? What lingers behind? doormats old carpets ornaments scraps of wallpaper picture frames Are you looking at dancers still? I’m very interested in looking everywhere else. I would love to get a job as a mechanic or a plumber and then still dance, just to see how it would influence what you do. I feel like there is more inspiration outside of the world that you are in yourself... I think
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you achieve something a lot more interesting when you’re not looking at dance or at paint all the time. I have collected these parts of a steel ducting system that would have been thrown out; they’ve just been living in my space for the last couple of weeks; I’ve just been playing with them and moving them around, getting comfy with them and thinking about them; some of the shapes are incredible like this bendy thing. I have a couple of these loose boxy things, the grids... These are nice as well – the tubes. They’re kind of squashed. They are... they’re beautiful... I love brutalist architecture anyway, steel and concrete slabs Which is also another interesting thing... for something not to work as a piece of clothing. I have been thinking about that, disorder out of chaos or chaos out of disorder [...], it’s all to do with space as well — it is; space can be really limiting or it can really bring you somewhere... I feel where we are here in the performing space. Over here is very limited because it has a specific audience... the transferring of the choreography into the visual arts or visa versa. I was thinking about drawing. I see dance as a drawing, as a malleable object that can be played with, an ongoing exploration into new relationships. Also when it comes to relationships, you can create a new language of a relationship with something through avoiding the normal relations or by coming up with new ones. I love when something that has a function, especially old things that have had a function as something else and bringing them to life in a new context... because of their new relationship they are pleased somewhere else that they would not have existed in or as before. That atmosphere plus the idea of the underlay, you know it’s underneath the carpet, all the stuff that it’s meant to be. What symbolizes, it’ll be sluggish and hard. How many people have walked on it, you know the history of the underlay. Let alone being worn. Yeah you’ll be struggling to move in it. Robin Rhode makes me think again about drawing - it just makes the drawing a dance. Yeah definitely, I’m having these images in my head since you said about that chalk and the dust and the colours, of a type of costume constructed architecturally around the body that just kind of falling out, it would to have... Little platforms coming out over the eyebrows...
With things falling done... Porcelain horses shagging delicate miniature kitchen dressers and china hand painted wardrobes collected with Ireland’s Own magazine tokens by my granny long ago and passed down, an inheritance, now being humped over by ornamental white horses with broken hooves, on a spice rack, worn on his back... ...horses fucking furniture Is it comedy or ridicule of the tragedy of just things carrying on and on messing up the fragile threads of DNA our place in the world?
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The following collections and collaborations are all works beginning in 2005 until I set up my label NATALIEBCOLEMAN in 2010. I want my clothes to tell stories of lovely dishevelled femininity, of love affairs, wasted desires, tales of unravellement, compulsive relationships between people and memories and their surroundings. Narratives inspire my pieces and I usually design through text, writing out my collections rather than drawing them. For me fashion is emotional and whimsically mood driven and I like my design to tell a story to the wearer so that they have something that contains a history, a beginning. As starting points I source external inspiration rather than reference past eras, I have a distracted nostalgia for memories and like to layer them up in my collections and see where they lead to.
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It has been really inspiring to work with other designers and artists in the collaborative projects. With each person coming from different work backgrounds, it really lead us in unexpected new directions. Cross-art collaborations such as these spawn unusual hybrids rather than assembly line results and working with the artists featured in the following projects brought an intriguing freshness into the work. I hope you enjoy this,
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Underlay jumper with gold hooks & blanket stitch Twisted black underlay trousers White ruched shower curtain and lace top White ruched shower curtain and lace trousers Lining, frilled shelve jacket with porcelain horses on miniature china furniture > Lino and screwed pleated trousers > Carpet bowed pullover
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In memory of my mother, BRIDIE MEEGAN (RIP)
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Knitted crow vest Nest ribbon skirt Silver hooded silk mix jacket with silk screen printed lining Pleated point ribbon leggings Black organza wing shoulder and arm piece (Attach/detach) grosgrain half top Organza silk and silk flight dress Winged jacket with silk screened lining and pleated detailing Arm printed poetry clasps
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We would like to acknowledge the assistance of Cavan-Monaghan LEADER, the Minister and Department of Community, Equality & Gaeltacht Affairs, the EU and EAFRD in part-funding this project. FUNDED BY THE IRISH GOVERNMENT UNDER THE NATIONAL DEVELOPMENT PLAN, 2007-2013 Is fiontar comhpháirteach é LEADER Cabhán-Muineacháin idir Breifne Aontaithe Teoranta agus Forbairt Aontaithe Teoranta Muineacháin chun an Clár Forbairt Tuithe Éireann 2007-2013 a thoirbhirt i gcontaetha Cabhán agus Muineacháin. Cavan-Monaghan LEADER is a joint venture between Breffni Integrated Ltd. and Monaghan Integrated Development Ltd. for the delivery of the Rural Development Programme 2007-2013 in counties Cavan and Monaghan.
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PAUL BAILEY: www.wedrawlines.com CONOR BUCKLEY: conorbuckleyphotography.com ALEXIS CLANCY: www.choreograph.net/raw MARK CARBERRY, Dance Artist: www.facebook.com/mark.carberry DAGDHA DANCE SPACE: www.daghdha.ie THOMAS FOLEY; www.thomasfoley.net THE GEORGIAN HOUSE & GARDEN: Perry Square, Limerick MICHAEL KLIEN, Artistic Director: www.daghdha.ie BLATHNÁID NÍ MHURCÚ: www.blathnaidnimhurchu.com THOMAS MC GRAW LEWIS: www.facebook.com/thomasmcgrawlewis RONAN MCCALL: www.facebook.com/Ronan-McCall OXFAM: www.oxfamireland.org TARA POWER: www.tarapower.com
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Edited by NATALIEBCOLEMAN and PAUL BAILEY Design by PAUL BAILEY at WE DRAW LINES Copyright Š 2011 NATALIEBCOLEMAN All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy or any storage and retrieval system, without permission in writing from NATALIEBCOLEMAN. Every effort has been made to ensure all references are cited correctly and consistently. If in any instance there have been any errors, please notify NATALIEBCOLEMAN, info@nataliebcoleman.com. Thank you. www.nataliebcoleman.com
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