EXHIBITION PROGRAMME 2015

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Artists: Sligo IT

Title of Exhibition: Exhale

Date: Friday 15th June until Saturday 23rd June

Artist's images and Statements

Aisling Browne

My work explores the natural landscape around Ireland from forestries, beaches and mountains to the fields in the countryside altered by man. I alter these landscapes to create barren countrysides and bountiful landscapes full of vibrant colours. The idea is to show different sides of our world from the luscious areas to those that have been transformed through time.  Colour is used to abbreviate and alter landscapes which I have previously photographed, to question our surroundings and what we see around us in life. The landscape around us consumes and establishes itself in our lives no matter where we are.

In my work I use animals and plant life as my main focus in my paintings to create a prelapsarian world. Identity, mortality and nostalgia/longing are themes in my work to convey these ideas. The use of colour within my work is key to understanding the complex nature of the animals and the landscapes that engage their lives. The pending doom of prey and predator, the decay of the land through erosion and man's development, and the growth of the flora and fauna that live in these worlds.

   

Ann Nellany

Nellany explores memory and the choices we make daily and their potential to change our lives, reminiscent of Robert Frost’s poem The Road Not Taken. Unfortunately, sometimes we don’t get the opportunity to make our own choices. In this work, memory is eroded and memories cannot be contained and in the words of Louise Bourgeois the “stitching becomes a process of emotional repair”. Nellany creates an artistic vision by responding to the material itself to explore process, material and memory.

   

Edel Haran

The main themes in Edel Haran’s work is the fantastical, otherworldly and escapism, she wants the viewer to feel like they have walked into an alternative world, as she is Interested in how we as humans use fantasy films and stories as a way of escaping our mundane, normal day to day lives. As humans we use these films and stories as a way into the fantastical, a getaway from reality, a world were boundaries disappear. The aim of her artwork is to capture this feeling.
Haran forages and collect materials, that are deemed worthless to people and thrown out as trash. She is taking the object from its normal everyday form, dismantling them to create a new arrangement and generate an object that looks otherworldly. Changing the way people see these objects, because an object like a plastic bottle can become something other than just a plastic bottle.
The aim of her work is to create art that will rekindle the imagination and that will provide a temporary escape into the fantastical, allowing the viewer to rediscover their own imagination and sense of wonder in their everyday life. 


   

Hazel Mc Crann

Driven by a love of painting my work explores the sense of presence. The act of painting allows for the loss of oneself in an intense aesthetic experience.  In a world overloaded with information, requiring constant interpretation, a sense of presence, an experience of the ‘here and now’ is something my paintings hope to offer. The process by which these paintings have been made is intuitive, focusing on the materiality of the paint to create tangible paintings which influence the senses.  Using materiality as a driver within the painting process and using myself as a vehicle for this process, reaffirms for me the importance of the human presence in the act of painting.  This process creates a quality of transient fragility which places the reading of the painting beyond the simplicity of a narrative.

 

   

Ken Gunning

A picture frame is a luxurious item often more expensive than the artwork but chosen carefully to work in tandem with a painting or a piece of art work. Having worked as a picture framer I became drawn to the off-cut pieces of wood on the workshop floor. The possibility of restoration became my line of enquiry and so began the nature of my attempt to evoke what it means to be flawed, cast off or secondary and put back together. The boundaries are discarded and crossed further with objects from coffin and guitar makers introduced. Dental plaster and personal items offer content with a sense of that randomness of life and the sense of holding onto the limitations of it.


 

Lorna Roberts

My Art is about the unremitting struggle for survival.

 

Rebekah Corrigan 

In her work Rebekah uses vibrant colors and applies them with a method that signifies fluidity and freedom of movement. The repetition of the folds gives light to an organizational system of rules and obligations; the contradiction of the two physical actions in her process indicate to the theme of restricted freedom with the exploration and engagements of contradicting actions. By using a material like paper that is generally regarded as weak in nature and conforming it to a specific shape; makes a typically dependent material appear as a dominant solid structure. Although this is the intention to the process of making the work any interpretation into the piece(s) is welcome.

 

Gabrielle Flynn

By bringing the past into the present I examine place, memory and loss. I choose oil paint, with its slow drying time and organic and mineral content, evocative of time and place, as my medium, to add an inner world to the narrative. Through the interplay of read images and the corporeality of the canvas, I acknowledge that a work’s meaning emerges as much from the reading as the making.

 

Kevina Morris  

George Orwell imagined 1984 as a dystopian world, where a totalitarian Big Brother can watch your every move. At the time, the book Nineteen Eighty-Four written in 1944 was considered by many as excessive satire and wouldn’t amount to more than a fictional sci-fi novel. Today people have a significantly different attitude towards the themes and ideas Orwell presented in this book.
We are now living in an era where an individual can have both a physical and virtual identity; the only major technological advancements being made are so the government can tighten its grip of control over its citizens, privacy has been made a thing of the past thanks to the internet, and surveillance is at an all-time high.
In this body of work, I am interested in expressing the effect that this oppressive surveillance has on an individual in their everyday life, and their behaviour when they know they are being watched, as well as when they don’t know. Having grown up in the countryside, it was one of the first things that I noticed when I moved to the urban area of Sligo. Upon the moment I leave my apartment, I am all too aware of the legion of CCTV cameras, following me as I walk through the town on my way to college. Wherever I go, whatever I do – there is a glass lens silently observing.
The main values in this body of work are; identity, privacy, sociology, and the everyday. My chosen process involves black and white film photography – which was an intentional rejection of the digital modern processes. In making the series of photographs, I used a 35mm film Pentax camera to document black and white pictures of the security cameras that I noticed while executing my daily tasks. I then developed the films, and began a series of tests experimenting with aperture, light, and duration of exposure, eventually arriving at a clear print. When I was satisfied with my ability to print a technically correct photograph, I began to experiment with the process, introducing objects, cardboard templates, netting, water, whiteboard marker, and fishing line to create different effects on the print. I chose to work through black and white as I deemed it most effective in conveying the emotive qualities of the subject matter. The lack of colour could be perceived as a metaphor for how the surveillance cameras effect individuality.
I am inspired by the everyday, the things that go overlooked, and the space between an event or occurrence, and the mundane. This body of work is an amalgamation of this interest in the everyday with my process of artmaking. Process is a fundamental aspect of my approach to artmaking. The flow of creativity is inspired by following a process, altering it, analysing it, manipulating it, and following it again. I do not believe that an artwork is the finish product, but rather the act of creating said product. Like eating a delicious meal, savouring every bite, and then flushing it away. To me, making art is the eating part - and well I’m sure you can put the rest together yourself. In capturing images of the surveillance related cameras, signs, and personnel on my everyday routine, I hope to highlight the silent watchers of the shadows, and force them into the spotlight where they can be examined by the viewer, making them reconsider the act of surveillance on the public, why people have become so immune to its presence, and what effect this type of relentless surveillance has on our identities.
Naturally, everyone has different opinions on surveillance in society, and everyone has different experiences of it. Mine is that of an entirely innocent individual who has inherently good intentions, and has no reason to be monitored. Therefore, I feel the need to rebel against the watchers, and turn the lens on them instead.