Drawing_Projects
I'm concerned with how humans experience the world
and I use drawing and its complexity, diversity,
universality and presentness to pay attention to the everyday.
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PROJECTS
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'Slow Looking', CCA Derry /Londonderry
National Drawing Day May 2020 http://cca-derry-londonderry.org/public-programme/slow-looking/ #nationaldrawingday #slowlooking #findingwonder |
CYBER CRAIC - A DIGITAL IRISH ARTS FESTIVAL
Kiera O'Toole - The Office of Public Wonder
https://www.solasnua.org/cyber-craic-a-digital-irish-arts-festival-2020/#Visual-Arts
TWO HOUR IMPROMPTU SITE-SPECIFIC DRAWING
BALLINA, MAYO, 2019
Lines of Negotiation I, 2013,
Maitland Regional Gallery, NSW, Australia
NATIONAL DRAWING DAY IN COLLABORATION WITH ANDY PARSONS
THE DOCK, LEITRIM, IRELAND. 2017
THE DOCK, LEITRIM, IRELAND. 2017
Publications
'MARIAN THREAD', 2013
A COLLABORATIVE INTERNATIONAL PROJECT
Visualizing Ireland: Homage to Otherness The Institute of Global Irish Studies, University of NSW, Sydney, Australia
A COLLABORATIVE INTERNATIONAL PROJECT
Visualizing Ireland: Homage to Otherness The Institute of Global Irish Studies, University of NSW, Sydney, Australia
In this practice led research project, artists Annemarie Murland and Kiera O'Toole collaborate on the complexities of Marian Theology as a framework for examining female sexual identity which are shaped by irish and scottish cultural narratives and personal experience as mediators of exchange, the duo explore the Mary story through their respective art practice. The Marian Thread began with project one entitled Homage to Otherness.
In re-imagining the Mary figure, the work sought to broaden my understanding of the profound effect her image holds for me and draw, literally and figuratively speaking, draw my story into the Marian Thread narrative. French literary theorist and psychoanalyst Julia Kristeva observes that if the Marian image is the solitary sacrosanct representation of ‘femininity’ in Western society, then how does the image of the Virgin Mary impact of sexuality and femininity? Mary, as the immaculate prototype for femininity, is grossly insufficient to describe personal experiences as it relates to gender and sexuality, experiences of rape, miscarriage, caesarian and motherhood and the life wounds and battle scars such bodily knowledge’s leave behind. Can the Virgin Mary become, and I quote Irish writer Colm Tobin on his controversial book, the Testament of Mary, to become “fully human” so Mary as icon becomes an entity that can resonate for me as female today? Interrogation of Marinaism is decoded through fault-lines in the intimate relationship between Mary and myself by means of a material dialogue to become the site for an intercession between self in place, femininity and the Blessed Virgin Mary.
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'Negotiating Surface','Opening the box', 2013, graphite, acrylic, masonite board. 4 Point Gallery, NSW, Australia.
From an intuitive process of drawing, a subjective dialogue of enquiry negotiates the shifting and unpredictable conditions where drawing begins to draws itself. Taking an approach towards drawing that is open-minded, unknowing and inquiring, opportunities arise to generate conditions where the unfolding of unexpected embodied and tacit knowledge can emerge. :
(The Pandora Group is Opening the box with an invitational exhibition of women artists with similar sensibilities curated by Linda Swinfield) Enquiry into conceptual and abstract aesthetics that stretches over a six year history as a group to other artists. All the artists original and invited have similar concerns that link family, abstraction, representation, place, memory and identity.
(The Pandora Group is Opening the box with an invitational exhibition of women artists with similar sensibilities curated by Linda Swinfield) Enquiry into conceptual and abstract aesthetics that stretches over a six year history as a group to other artists. All the artists original and invited have similar concerns that link family, abstraction, representation, place, memory and identity.
'ACTS OF DRAWING', 2013
IN COLLABORATION WITH DR ANNEMARIE MURLAND, 2013, NEWCASTLE UNIVERSITY, NSW, AUSTRALIA
BLANK PIECE OF PAPER, NO PREPARATION, NO NARRATIVES, LIMITED MATERIALS...DRAW.
IN COLLABORATION WITH DR ANNEMARIE MURLAND, 2013, NEWCASTLE UNIVERSITY, NSW, AUSTRALIA
BLANK PIECE OF PAPER, NO PREPARATION, NO NARRATIVES, LIMITED MATERIALS...DRAW.
'HOUSE', 2013
Using natural materials of Australian of gum nuts seaweed and balsa wood, gold leaf. the work explores notions of personal and cultural identity from the perspective of a being a migrant.
Using natural materials of Australian of gum nuts seaweed and balsa wood, gold leaf. the work explores notions of personal and cultural identity from the perspective of a being a migrant.
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Abhaile, 2013
Snamh, 2013
'HOMEward bound', 2011
A social engagement project with communities from the Central Coast, NSW, Australia.
A social engagement project with communities from the Central Coast, NSW, Australia.
ABHAILE I, 2010
GASTROPOD, ink on archival paper, 2005
Talbot Gallery & Studios, Dublin, Ireland
SOMETHING STILL REMAINS, 2007
CHARCOAL IN PERSPEX BOX, 30CM X 30CM, EXPLORING DRAWING
IN THE EXPANDED FIELD. HANDMADE CHARCOAL WAS PLACED INTO PERSPEX BOX. THE DRAWING WAS CREATED BY THE MOTION WHEN TRAVELLING 100KM TO THE GALLERY.
CHARCOAL IN PERSPEX BOX, 30CM X 30CM, EXPLORING DRAWING
IN THE EXPANDED FIELD. HANDMADE CHARCOAL WAS PLACED INTO PERSPEX BOX. THE DRAWING WAS CREATED BY THE MOTION WHEN TRAVELLING 100KM TO THE GALLERY.
'Romantic Ireland's Dead and Gone', 2007,
charcoal and graphite on archival paper.Gosford Regional Gallery
'Dollymount Bridge',2005, OPW Collection
Talbot Gallery & Studios, Dublin, Ireland
Talbot Gallery & Studios, Dublin, Ireland
It's a Cold and Broken Hallelujah, 2000
Handmade charcoal made from driftwood from dollymount beach, Dublin, Ireland.
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