activities

An Integrated Vision

SUSAN CAMPBELL PROBES THE PARAMETERS OF ATELIER MASER, A MIXED-USE STUDIO AND GALLERY SPACE IN CENTRAL DUBLIN.

Lola Donoghue, Tier 31, 2020, oil on canvas, installation view; courtesy of the artist and Atelier Maser ‘Assemble’, group show, L-R: Jane Fogarty (sculpture), Alice Fitzgerald (print), Aoife Scott (sculptures), Deirdre Breen (prints), installation view; courtesy of the artists and Atelier Maser

LOCATED ON CHARLEMONT Street in Dublin’s south city centre, Atelier Maser is a relatively new, independent art facility, which took its place within the city’s cultural infrastructure in late 2018. It is financed by the eponymous street and installation artist, known for his bold and upbeat abstract compositions. Maser conceived the workspace as a multipurpose studio and gallery that would nurture emerging talent through a combination of residencies and exhibitions. Under more usual, non-pandemic conditions, the facility opens to the public four days a week, including weekends, and comprises a large interior space, divided and modified to suit its range of activities.

Following periods spent in London and the US, Maser recalls arriving at the decision to return to Dublin and establish lasting foundations for his work. He was also intent on moving his practice forward, and had the idea of investing in a space where he could plan and produce projects, while championing artists who don’t readily fit the conventional criteria for funding and other supports. Locating a rentable unit close to his home – a stone’s throw from his first studio in the Bernard Shaw pub – he and a group of friends set about fitting it out on a tight budget.

Two discrete, multi-use spaces were carved out from the empty shell, overhung by a 3.5 metre, silver spray-painted ceiling, featuring exposed pipework. One of these became a gallery, configured in a familiar white-cube format with sealed concrete floors, specialist lights and a dearth of visual distractions. The second space functions as a studio-cum-office, and has a more textured, industrial finish that combines blue paintwork with sheets of cost-effective OSB board. This scheme was informed by design features the artist had noted in New York, and aspires to a robust, uncluttered functionality.

In negotiating the learning curve associated with launching and building this initiative, especially given the challenges thrown up by COVID-19, the Atelier’s physical parameters continue to be modified, its programmes rescheduled when necessary, and their content fine-tuned. Where the original square-shaped unit had been split roughly down the middle, it was recently reconfigured to incorporate a moveable dividing wall that lends it greater flexibility.

Yoga, meditation and other wellness classes enrich and complement the Atelier’s programming, fostering what Maser regards as ‘integrated living’. Classes and workshops, once restarted, will take place in the gallery, since Maser believes that sharing an environment with artworks enhances the experiences offered. Where studio placements have, to date, been informal and responsive to need, he hopes to put a structure in place for a residency programme that will accommodate those with non-traditional backgrounds. Working alongside an experienced artist will naturally create the conditions for mentorship, including advice on how to build an art career.

It is almost two years since the Atelier’s inaugural show, ‘A Stag’s Head’, introduced the space to the public. It featured canvases by the painter Peter Doyle, whose distinctive figurative style emerged from his beginnings in graffiti art, and incorporates, at times, the kinds of decorative and still life elements found in works by Matisse. Between 2019 and 2020, subsequent programming presented ‘Distorted Identity’ by Aches, ‘Utility’ by Stephen Burke and ‘Chromatic’ by Shane Griffen.

However, the planned schedule stalled unavoidably last spring, when the Atelier’s first group exhibition, ‘Assemble’, was pushed back from a March-April slot, originally planned to coincide with St. Patrick’s Day. The show’s title alluded to its genesis in Maser’s enthusiasm for collecting and drawing into dialogue the work of artists with a shared proficiency in the use of colour and other formal elements. It showcased seven artists – Alice Fitzgerald, Leah Hewson, Deirdre Breen, Jane Fogarty, Helen Steele, Aoife Scott and Lola Donoghue – who, despite a diverse use of mediums and creative concerns, produce often graphic abstractions that have parallels with Maser’s own output. Installation photographs suggest that Breen’s hard-edged, geometric prints, Hewson’s architectural wall-mounted pieces, and Steele’s dynamic Spin sat easily alongside the subtleties evident in Fogarty’s paperbased and sculptural works, and the bright painterly canvases of Donoghue.

Maser describes some of the positive outcomes arising from working around the vicissitudes of a global pandemic. Shifting the postponed opening of ‘Assemble’ from the usual Thursday evening slot to daytime at the weekend – as a way to reduce crowds while still safely accommodating visitor numbers – gave rise to an alternative and, he discovered, more successful model. Compared to the condensed throng of the familiar opening night, which often leaves little room to view the exhibits, he found a measured trickle of viewers over a longer period of time facilitated enhanced art experiences and interesting conversations. This, he believes is the way forward, as are more frequent shows with shorter runs, since he argues that those who really want to, will make sure to see the work.

Having applied, unsuccessfully to date, for support from funding bodies, Maser continues to finance the Atelier from artist fees received for projects at home and abroad. A recent example is a mural completed in Cork for the first Ardú Street Art Festival (12 – 31 October 2020), which was funded by Creative Ireland and Cork City Council. He is content to let the facility’s potential unfold over time, but anticipates it finding its own momentum and sustainability. The funding model he has been working on is underpinned by a scheme that comprises tiered membership packages. Due to go live last year, it was impacted by the March 2020 lockdown and held back until Spring 2021. It will include a range of individual and corporate options with cumulative benefits, such as printed catalogues, discounts on classes and signed and numbered limited-edition prints.

Optimistic about the Atelier’s future, Maser’s enthusiasm for its remit and contribution to Dublin’s cultural life echoes the invigorating qualities found in his artworks. It is an invitation to participate in and watch with interest how this multipurpose, integrated, yet flexible incubation space fulfils its promise in the months and years ahead.

Susan Campbell is an independent visual arts writer and researcher.

Established in 2018, Atelier Maser is a creative studio and gallery space located on Charlemont Square, Dublin.