current PROJECTS
DRAWING WONDER_PROJECTS
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Drawing from the Non-Place, 2.34 mins, 2017, chalk on concrete structure, Strandhill, Co Sligo, Ireland.
PHOTOGRAGHY:Kiera O'Toole and Sarah Sexton
The Model, Co Sligo, 2017
Damer House Gallery 2017
Catalyst Arts, Belfast, 2017
This ongoing project queries whether drawing can awaken a sense of wondering of drawing and of place.THE DRAWING IS AN ARTICULATION OF AN ESSENCE OF EXPERIENCE BUT IT IS ALSO AN EXPERIENCE ITSELF.THE DRAWING OPENS UP A TEMPORARY ‘HOLDING SPACE’, A TEMPORARY DWELLING FOR THE PASSER-BY DURING A HABITUAL WALK TO BECOME ATTENTIVE TO THEIR PERCEPTUAL EXPERIENCE. WITHIN THIS ‘HOLDING SPACE’ THE DRAWING MAY STIR A SENSE OF WONDER IN THE VIEWER, WHO MAY BY REAWAKENED TO THE BASIC EXPERIENCE OF THE WORLD AND “HEAR THE UNCANNY RUMBLE OF EXISTENCE ITSELF” (VAN MANEN, 2011)
https://vimeo.com/220796104
https://www.youtube.com/watch?v=KgW1r2LObIo
Drawing from the Non-Place, 2.34 mins, 2017, chalk on concrete structure, Strandhill, Co Sligo, Ireland.
PHOTOGRAGHY:Kiera O'Toole and Sarah Sexton
The Model, Co Sligo, 2017
Damer House Gallery 2017
Catalyst Arts, Belfast, 2017
This ongoing project queries whether drawing can awaken a sense of wondering of drawing and of place.THE DRAWING IS AN ARTICULATION OF AN ESSENCE OF EXPERIENCE BUT IT IS ALSO AN EXPERIENCE ITSELF.THE DRAWING OPENS UP A TEMPORARY ‘HOLDING SPACE’, A TEMPORARY DWELLING FOR THE PASSER-BY DURING A HABITUAL WALK TO BECOME ATTENTIVE TO THEIR PERCEPTUAL EXPERIENCE. WITHIN THIS ‘HOLDING SPACE’ THE DRAWING MAY STIR A SENSE OF WONDER IN THE VIEWER, WHO MAY BY REAWAKENED TO THE BASIC EXPERIENCE OF THE WORLD AND “HEAR THE UNCANNY RUMBLE OF EXISTENCE ITSELF” (VAN MANEN, 2011)
https://vimeo.com/220796104
https://www.youtube.com/watch?v=KgW1r2LObIo
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THE MODEL, SLIGO, IRELAND, 2017
http://themodel.ie/weblog/kiera-otoole
In this exhibition O’Toole considers the work of renowned Dutch artist Arno Kramer, whose drawings are held within The Niland Collection. O’Toole has chosen three works by Kramer, which resonate with her own artistic interests. O’Toole is drawn to the similarities in their practice which she sums up as follows: ‘As practitioners, Arno Kramer’s drawing practice and my drawing practice share an attentiveness and awareness which is informed by drawing’s key attributes: immediacy, intimacy, modesty of means and sensitivity; as evidenced through the pressures of touch, stains, accidents, lines and indentations.” Both artists bring into view the physical trace of the artist’s thinking where a heightened sense of perceptual awareness of the drawing process emerges ‘as a coming to know. This exhibition rAn concurrently alongside the exhibition 'High Winds Move Slowly', an international presentation of the work of artists Arno Kramer and Henk Visch.
http://themodel.ie/weblog/kiera-otoole
In this exhibition O’Toole considers the work of renowned Dutch artist Arno Kramer, whose drawings are held within The Niland Collection. O’Toole has chosen three works by Kramer, which resonate with her own artistic interests. O’Toole is drawn to the similarities in their practice which she sums up as follows: ‘As practitioners, Arno Kramer’s drawing practice and my drawing practice share an attentiveness and awareness which is informed by drawing’s key attributes: immediacy, intimacy, modesty of means and sensitivity; as evidenced through the pressures of touch, stains, accidents, lines and indentations.” Both artists bring into view the physical trace of the artist’s thinking where a heightened sense of perceptual awareness of the drawing process emerges ‘as a coming to know. This exhibition rAn concurrently alongside the exhibition 'High Winds Move Slowly', an international presentation of the work of artists Arno Kramer and Henk Visch.
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CHALK DRAWING ON SEWAGE DRAIN, STILLS. STRANDHILL, CO SLIGO 2017.Video in process
LUGNADEFFA, CHALK LINE ON RUInS OF REMOTE AND NEGLECTED VILLAGE IN THE OX MOUNTAINS, co sligo
EXPLORING NOTIONS OF PERCEPTUAL EXPERIENCE IN RELATION TO PLACE AND DRAWING IN SITu so that the passerby may become attentive to their perceptual experience. .
EXPLORING NOTIONS OF PERCEPTUAL EXPERIENCE IN RELATION TO PLACE AND DRAWING IN SITu so that the passerby may become attentive to their perceptual experience. .
'HOLDING SPACE' made by walking repeatedly over burnt ground
Sligo, 2017
This project tries to open up a temporary ‘holding space’, a temporary dwelling where a sense of wonder may stir in the viewer, who may by reawakened to the basic experience of the world and “hear the uncanny rumble of existence itself” (van Manen, 2011).
Sligo, 2017
This project tries to open up a temporary ‘holding space’, a temporary dwelling where a sense of wonder may stir in the viewer, who may by reawakened to the basic experience of the world and “hear the uncanny rumble of existence itself” (van Manen, 2011).
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white CHALK ON CRACKS ON ROCKS, CO SLIGO 2017
EXPLORING NOTIONS OF PERCEPTUAL EXPERIENCE IN RELATION TO PLACE AND DRAWING IN SITU SO THAT THE PASSERBY MAY BECOME ATTENTIVE TO THEIR PERCEPTUAL EXPERIENCE.
EXPLORING NOTIONS OF PERCEPTUAL EXPERIENCE IN RELATION TO PLACE AND DRAWING IN SITU SO THAT THE PASSERBY MAY BECOME ATTENTIVE TO THEIR PERCEPTUAL EXPERIENCE.
STRANDHILL BEACH, BEACH BAR, SLIGO, IRELAND
Chalk on cracks and found lines on rocks, Strandhill and Beach Bar, Co Sligo 2016/17
EXPLORING NOTIONS OF PERCEPTUAL EXPERIENCE IN RELATION TO PLACE AND DRAWING IN SITU SO THAT THE PASSERBY MAY BECOME ATTENTIVE TO THEIR PERCEPTUAL EXPERIENCE.
Coolaney Riverwalk.Co Sligo, 2017
blue chalk on old mill building.
The original drawing is the gulping sound of the river owen beg.
blue chalk on old mill building.
The original drawing is the gulping sound of the river owen beg.
DRAWING AS PHENOMENOLOGY
(tele)consequences, 2018
A networked collaborative drawing performance installation for the multidisciplinary drawing exhibition Marks Make Meaning at the University of Brighton, Grand Parade Gallery, 12th to 29th March 2018.
(tele)consequences was a collaborative global drawing performance that could be joined from any location in the world by simply using a networked computer or smartphone and Skype app. The aim of this project is to explore the symbiotic relation between artist and viewer, exposing the myth that creativity and meaning is a one-way process. In (tele)consequences the creation of meaning is experienced by sender and receiver through an open framework as a process of cause and effect"
Text by Paul Sermon
Concept by Paul Sermon, produced in collaboration with Jeremy Radvan.
Participants: Students from Brighton UNIVERSITY AND International Participants: Kiera O'Toole and Anna Spearman, Sligo in Ireland. See below For full list of participants
http://www.paulsermon.org/(tele)consequences/
http://arts.brighton.ac.uk/whats-on/gallery/gallery-exhibitions-2018/marks-make-meaning-drawing-across-disciplines
A networked collaborative drawing performance installation for the multidisciplinary drawing exhibition Marks Make Meaning at the University of Brighton, Grand Parade Gallery, 12th to 29th March 2018.
(tele)consequences was a collaborative global drawing performance that could be joined from any location in the world by simply using a networked computer or smartphone and Skype app. The aim of this project is to explore the symbiotic relation between artist and viewer, exposing the myth that creativity and meaning is a one-way process. In (tele)consequences the creation of meaning is experienced by sender and receiver through an open framework as a process of cause and effect"
Text by Paul Sermon
Concept by Paul Sermon, produced in collaboration with Jeremy Radvan.
Participants: Students from Brighton UNIVERSITY AND International Participants: Kiera O'Toole and Anna Spearman, Sligo in Ireland. See below For full list of participants
http://www.paulsermon.org/(tele)consequences/
http://arts.brighton.ac.uk/whats-on/gallery/gallery-exhibitions-2018/marks-make-meaning-drawing-across-disciplines
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SONIC DRAWING: Residency with CanadIAN Sound Artist Donna leGAULT IN LEITRIM SCULPTURE CENTRE, 2017
This collaborative and international project crosses disciplines to create a time-based experience where drawing and sound form the basis of a relational exchange. Traditional notions of authorship are challenged through the translation of the gestural mark into both durational sonic impressions of the drawn surface and incidental sounds of mark making.
These two methods of Sonic Drawing are employed to encourage the participatory response of visitors to the installation space. The incidental sounds of participants drawing actions mingle with durational sounds that are generated live by custom electronics in concert with graphite drawings to create a space of responsive co-creation. Through this intervention, the activation of the exhibition space serves to influence the participants’ perception and interpretation of the sonic gesture.
This collaborative and international project crosses disciplines to create a time-based experience where drawing and sound form the basis of a relational exchange. Traditional notions of authorship are challenged through the translation of the gestural mark into both durational sonic impressions of the drawn surface and incidental sounds of mark making.
These two methods of Sonic Drawing are employed to encourage the participatory response of visitors to the installation space. The incidental sounds of participants drawing actions mingle with durational sounds that are generated live by custom electronics in concert with graphite drawings to create a space of responsive co-creation. Through this intervention, the activation of the exhibition space serves to influence the participants’ perception and interpretation of the sonic gesture.
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'Drawing ConversationS' as part of the NEW VOICES OF IRELAND, SERIES 5 'migration-from burdens to opportunities"2017
Centre for Creative Practices
The public were given two graphite sticks and asked to begin a drawing conversation with me. We would not discuss what we were drawing
CFCP: http://cfcp.ie/nvoi5/
Centre for Creative Practices
The public were given two graphite sticks and asked to begin a drawing conversation with me. We would not discuss what we were drawing
CFCP: http://cfcp.ie/nvoi5/
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Drawing Conversation as part of the NEW VOICES OF IRELAND, SERIES 5 'migration-from burdens to opportunities" 2017
Centre for Creative PracticeS
CFCP: http://cfcp.ie/nvoi5/
Centre for Creative PracticeS
CFCP: http://cfcp.ie/nvoi5/
