DRAWING_PROJECTS
I'M CONCERNED WITH HOW HUMANS EXPERIENCE
EMBODIED DRAWING; ITS COMPLEXITY, DIVERSITY,
UNIVERSALITY AND PRESENTNESS.
I'M CONCERNED WITH HOW HUMANS EXPERIENCE
EMBODIED DRAWING; ITS COMPLEXITY, DIVERSITY,
UNIVERSALITY AND PRESENTNESS.
'THE ONE IS STANDING APART FROM ME'
A DRAWING PERFORMANCE BY KIERA O’TOOLE & GREIG BURGOYNE 2018
“drawing draws its mark in the act of withdrawing…
Forming a place …to go from nothing to something” Jean Luc-Nancy
Jean Luc-Nancy notes in his text titled The pleasure in drawing, that drawing has an 'ability to effect and be effected (by the) force from the outside or more precisely the force of sharing and opening, between an inside and outside which refer to one another”. Wrestling with this context, contemporary artists Greig Burgoyne and Kiera O'Toole propose a dynamic drawing performance that engages the notion of the phenomenological of site, as a reorienting dialogue with bodily space and drawings sense of endless becoming. The result is to present two drawing performances one by O’Toole another by Burgoyne that begin as performing space while concluding with a residual sense of place.
Through two striking and contrasting practices, Burgoyne and O'Toole share a rich immersion and teasing of how we constitute place, bringing the absurd alongside the experience of time, as they evolve a further third space akin to host and ghost; Both Burgoyne and O'Toole’s practice and research contribute a series of dialogic responses that embrace drawing in its widest sense, from the performative to the trace element. From the traditional to the ubiquitous, the role of materials will play a key factor in that dialogue. For Burgoyne, this is to source it from the locality in an act of contingency, where an absurd logic will flourish as materials, repetition, and endurance meet with site and bring about a newly configured sense of space. For O’Toole, the changing and temporal of site is a starting point to embrace the aesthetic potential and the experience that will result in gestural makes on paper.
Through two striking and contrasting practices, Burgoyne and O'Toole share a rich immersion and teasing of how we constitute place, bringing the absurd alongside the experience of time, as they evolve a further third space akin to host and ghost; Both Burgoyne and O'Toole’s practice and research contribute a series of dialogic responses that embrace drawing in its widest sense, from the performative to the trace element. From the traditional to the ubiquitous, the role of materials will play a key factor in that dialogue. For Burgoyne, this is to source it from the locality in an act of contingency, where an absurd logic will flourish as materials, repetition, and endurance meet with site and bring about a newly configured sense of space. For O’Toole, the changing and temporal of site is a starting point to embrace the aesthetic potential and the experience that will result in gestural makes on paper.
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(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 Uuniveristy 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
(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 Uuniveristy 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
SONIC DRAWING, 2017
LEITRIM SCULPTURE CENTRE, Leitrim, Ireland
LEITRIM SCULPTURE CENTRE, Leitrim, Ireland
A collaborative residency with Canadian born artist Donna Legault. 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.
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, 2017
NEW VOICES OF IRELAND, SERIES 5 MIGRATION-FROM BURDENS TO OPPORTUNITIES. CFCP: CENTRE FOR CREATIVE PRACTICES
NEW VOICES OF IRELAND, SERIES 5 MIGRATION-FROM BURDENS TO OPPORTUNITIES. CFCP: CENTRE FOR CREATIVE PRACTICES
ABOVE:THE PUBLIC WERE INVITED TO COLLABORATIVELY DRAW USING TWO GRAPHITE STICKS.
INSIDER/ OUTSIDER,2017
The Model, Sligo,2017
Leitrim Sculpture Centre, Leitrim, 2017
The Model, Sligo,2017
Leitrim Sculpture Centre, Leitrim, 2017
As a returning migrant after ten years residing in Australia, my position as a “liminal personae” is further considered through this body of work titled Insider/Outsider. The work subjectively ‘maps’ the shifting identities which move between being an insider and an outsider resulting in continuously reconstructing and searching for home, homeland and belonging. Within the drawing process, the notion of insider/outsider is both subject matter and method and the drawing emerges “as a coming to know” (Cain,2006).
Traditional and contemporary Aboriginal artists such as Paddy Bedford, Dorothy Napangardi, and George Tjungurrayi map their inner knowledge of significant and sacred Aboriginal sites through concentric circles, dots and lines which are not literal maps, diagrams or notations but are encoded stories of place and identity. People readily map meanings to space on a page to communicate abstract or concrete ideas, distance, place, relationships and the Aboriginal works of art are evidence, albeit coded, of a deep connection and certainty of place (B. Tversky, 2011, p.515). The concept of mapping is used as a process of enquiry where systems of mapping classification are omitted and narratives and transcribing of space are ignored in favour of map-like grids as sites for speculation. The ‘maps’ do not contain sites of importance or certainty of place rather the chaotic lines are pathways that lead to nowhere and the dots are markers of nowhere in particular and offers no explicit meaning. The resulting drawings are the visible embodiment of a ‘liminal personae’ of lived experiences of migration and returned migration.
Traditional and contemporary Aboriginal artists such as Paddy Bedford, Dorothy Napangardi, and George Tjungurrayi map their inner knowledge of significant and sacred Aboriginal sites through concentric circles, dots and lines which are not literal maps, diagrams or notations but are encoded stories of place and identity. People readily map meanings to space on a page to communicate abstract or concrete ideas, distance, place, relationships and the Aboriginal works of art are evidence, albeit coded, of a deep connection and certainty of place (B. Tversky, 2011, p.515). The concept of mapping is used as a process of enquiry where systems of mapping classification are omitted and narratives and transcribing of space are ignored in favour of map-like grids as sites for speculation. The ‘maps’ do not contain sites of importance or certainty of place rather the chaotic lines are pathways that lead to nowhere and the dots are markers of nowhere in particular and offers no explicit meaning. The resulting drawings are the visible embodiment of a ‘liminal personae’ of lived experiences of migration and returned migration.
Kiera OToole_Insider Outsider, ink and acrylic on paper (b) 2016
Kiera OToole_Insider Outsider (a), ink and acrylic on paper,
2016
Insider/ Outsider, ,2016, The Model , Co Sligo
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Insider/ Outsider, ,2016, Leitrim Sculpture Centre, Co Leitrim
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LINES OF NEGOTIATION I, II, III, 2014-2016
acrylic, charcoal, graphite on archival paper, 84cm x 119cm. Private collection, San Francisco and Permanent Works on Paper Collection in Maitland Regional Gallery , NSW, AustraliaEMPORARY DRAWING, #MIGRATION, #AUSTRALIA, #LEITRIM SCULPTURE CENTRE, #THE MODEL, #RETURNED MIGRATION, #MAITLAND REGIONAL GALLERY,
acrylic, charcoal, graphite on archival paper, 84cm x 119cm. Private collection, San Francisco and Permanent Works on Paper Collection in Maitland Regional Gallery , NSW, AustraliaEMPORARY DRAWING, #MIGRATION, #AUSTRALIA, #LEITRIM SCULPTURE CENTRE, #THE MODEL, #RETURNED MIGRATION, #MAITLAND REGIONAL GALLERY,
Lines of Negotiation I, 2013,
Maitland Regional Gallery, NSW, Australia
NATIONAL DRAWING DAY IN COLLABORATION WITH ANDY PARSONS
THE DOCK, LEITRIM, IRELAND. 2016
THE DOCK, LEITRIM, IRELAND. 2016
BETWIXT AND BETWEEN, 2015
TINAHELY COURTHOUSE ARTS CENTRE, WICKLOW. TWELVE MONTH RESIDENCY UNDER THE ARTS OFFICES’ STRATEGIC PROJECTS SCHEME. FUNDED BY WICKLOW COUNTY COUNCIL
TINAHELY COURTHOUSE ARTS CENTRE, WICKLOW. TWELVE MONTH RESIDENCY UNDER THE ARTS OFFICES’ STRATEGIC PROJECTS SCHEME. FUNDED BY WICKLOW COUNTY COUNCIL
“KIERA’S PRACTICE IN THIS SHOW DEMONSTRATE A CONSIDERED PURSUIT OF
DRAWING ACROSS MEDIA AND MATERIALS, EACH FORM SHARING A
PARTICULAR INTIMACY AND A PERSUASIVE INTENSITY”
BRIAN FAY, VISUAL ARTIST AND FORMER ASSISTANT HEAD OF CREATIVE ARTS, DUBLIN INSTITUTE OF TECHNOLOGY, IRELAND
THE CATALYST FOR THIS EXHIBITION CAME WHEN ARCHAEOLOGIST YVONNE WHITTY INVITED ME TO TAKE RUBBINGS OF SOME OF THE HEADSTONES FOR PROJECT THE STORY OF PREBAN GRAVEYARD IN TINAHELY, COUNTY WICKLOW IN 2014. FUNDED BY THE HERITAGE COUNCIL, THE ARCHEOLOGICAL PROJECT DOCUMENTED THE ANCIENT SITE WHICH INCLUDES THE HALLMARKS OF AN ENCLOSED EARLY MEDIEVAL CHURCH/MONASTIC SITE, ROCK ART DATING FROM THE NEOLITHIC PERIOD (C.4000-2500 BC) WHICH WAS DISCOVERED BY ARCHAEOLOGIST CHRIS CORLETT AND SLATE STONES BY AN ACCOMPLISHED STONE MASON DENIS CULLEN OF MONASEED DURING THE 18TH CENTURY. TAKING PREBAN AS A SITE OF DEPARTURE, I RESEARCHED THE EMBLEMATIC AND AMBIGUOUS IMAGERY FOUND IN GRAVEYARDS AND ANCIENT BURIAL GROUNDS IN COUNTIES OF WICKLOW AND SLIGO WHERE A FUSION OF MEGALITHIC, PAGAN, FAMINE, CATHOLIC AND PROTESTANT STORIES MERGED.
THE DRAWINGS IN THIS EXHIBITION ARE A MEASURE OF THE PRESENCE OF SELF IN THE WORK AND ACT AS SPACES TO POSIT THE QUESTION; CAN THESE MARKERS OF INDIVIDUALS, SOCIETIES AND CULTURES ACT AS THRESHOLDS TO EXPLORE THE AUTHORSHIP OF SPIRITUALITY IN CONTEMPORARY IRELAND IN AN AGE OF SECULARISM? THROUGH AN EXPLORATION OF THESE PUBLICLY PRIVATE SACRED SPACES, THE EXHIBITION ALSO SERVES AS A REMINDER OF OUR OWN MORTALITY AND HOW IN CONVERSING ABOUT DEATH, WE INEVITABLY TALK ABOUT LIFE.
THE DRAWINGS IN THIS EXHIBITION ARE A MEASURE OF THE PRESENCE OF SELF IN THE WORK AND ACT AS SPACES TO POSIT THE QUESTION; CAN THESE MARKERS OF INDIVIDUALS, SOCIETIES AND CULTURES ACT AS THRESHOLDS TO EXPLORE THE AUTHORSHIP OF SPIRITUALITY IN CONTEMPORARY IRELAND IN AN AGE OF SECULARISM? THROUGH AN EXPLORATION OF THESE PUBLICLY PRIVATE SACRED SPACES, THE EXHIBITION ALSO SERVES AS A REMINDER OF OUR OWN MORTALITY AND HOW IN CONVERSING ABOUT DEATH, WE INEVITABLY TALK ABOUT LIFE.
USING GRAVEYARDS, IN WICKLOW AND IN SLIGO AS HISTORICAL AND CULTURAL SITES, O’TOOLE’S
RESEARCH PROJECT OUTCOMES CULMINATE IN THIS EXHIBITION. THE EXHIBITION CREATES A
SPACE WHERE DRAWING REACHES BACK AND FORWARD BETWEEN TIMES PAST, PRESENT AND FUTURE TO
EXPRESS NEW LINES OF BEING IRISH
JENNY SHERWIN, WICKLOW COUNTY ARTS OFFICER
Publications
BREATH, 1.22MINS, 2015
USING THE MOUTH AND BREATH AS A TOOL FOR DRAWING BY BLOWING BLUE PIGMENT ACROSS EIGHT METER FABRIANO PAPER.
USING THE MOUTH AND BREATH AS A TOOL FOR DRAWING BY BLOWING BLUE PIGMENT ACROSS EIGHT METER FABRIANO PAPER.
Betwixt and Between, 2015
charcoal and graphite on incised archival paper, 122cm x 189cm.
BEYOND THE PALE: AUSTRALIA, 2013
National Museum of Australia, 2011
The univeristy of Newcastle, NSW,Australia,2011
The Shopfront Gallery, NSW,Australia 2013
National Museum of Australia, 2011
The univeristy of Newcastle, NSW,Australia,2011
The Shopfront Gallery, NSW,Australia 2013
THE EXHIBITED CONSISTED OF THREE ENCLOSED SPACES THAT CONCEALED THREE SCULPTURAL AND DRAWING INSTALLATIONS: OUR LADY OF CURRACH, INIMIREACH (IMMIGRANT), AND GREETINGS FROM THE IRISH IN AUSTRALIA (LARGE SCALE DRAWING ON MASKING TAPE AS SURFACE). THE DISJUNCTIVE EXPERIENCE OF LIVING OUTSIDE MY PSYCHOLOGICAL AND CULTURAL LIVING SPACE INFORMED MY FASCINATION WITH PLACE AND IRISH NATIONAL IDENTITY. THE WORKS OF ART ACTED AS A FORM OF VISUAL EXCHANGE BETWEEN IRELAND AND AUSTRALIA.
IMPRESSABILITY, 2013
Funded by Arts NSW,Australia
RYSS,NSW,Australia, 2013
NAISDA Dance Collage, 3013
Funded by Arts NSW,Australia
RYSS,NSW,Australia, 2013
NAISDA Dance Collage, 3013
"That's what mark making is, something that come out of you"
Nicole, Participant
Impressability: six-month residency in RYSS regional youth support services and funded by artsnsw, nsw, australia. The project sought to empower twelve young people with disabilities to explore their identities through drawing, photography and performance. NAISDA. National Aboriginal Islander Skills Development Association. NAISDA Dance College is Australia's premier Indigenous training college, producing the next generation of Aboriginal and Torres Strait Islander performers).
Three young dancers moved through powered charcoal while three young artsits tracved the dancers movements creating an emboodied visual dialouge as a site for an encounter.
Lead artist: Kiera O'Toole
Co-ordinator: Sharon Aldrick, RYSS regional youth support services
NAISDA dancers https://naisda.com.au
Choreography by Brett Parker "BILLYARA".
Photography by Angelo Akehagias
Cinematography by Alex Roussos
Sound by Grady Hensaw
Music by Gotye
#drawing, #dancing, #naisda, #ryss, #australia, #impressability, #artsnsw,
Nicole, Participant
Impressability: six-month residency in RYSS regional youth support services and funded by artsnsw, nsw, australia. The project sought to empower twelve young people with disabilities to explore their identities through drawing, photography and performance. NAISDA. National Aboriginal Islander Skills Development Association. NAISDA Dance College is Australia's premier Indigenous training college, producing the next generation of Aboriginal and Torres Strait Islander performers).
Three young dancers moved through powered charcoal while three young artsits tracved the dancers movements creating an emboodied visual dialouge as a site for an encounter.
Lead artist: Kiera O'Toole
Co-ordinator: Sharon Aldrick, RYSS regional youth support services
NAISDA dancers https://naisda.com.au
Choreography by Brett Parker "BILLYARA".
Photography by Angelo Akehagias
Cinematography by Alex Roussos
Sound by Grady Hensaw
Music by Gotye
#drawing, #dancing, #naisda, #ryss, #australia, #impressability, #artsnsw,
DRAWING PERSONAL SPACES
After many conversations with the young people, the group decided to create an artwork that explored one's personal space. There group made wearable sculptures based on their drawings. As the young people walked around the space , they decided on whether to draw on another wearable sculpture. The recipients may allow this act of being drawn upon or recoil.
Lead Artist: Kiera O'Toole
Photographer; Angelo Kehagias
After many conversations with the young people, the group decided to create an artwork that explored one's personal space. There group made wearable sculptures based on their drawings. As the young people walked around the space , they decided on whether to draw on another wearable sculpture. The recipients may allow this act of being drawn upon or recoil.
Lead Artist: Kiera O'Toole
Photographer; Angelo Kehagias
FRINGE DANCE
Participants drew using the fringes of the their costume dipped into Indian ink.
Art Directors: Kiera O'Toole Gemma Garner, Angelo Kehgias
Participants drew using the fringes of the their costume dipped into Indian ink.
Art Directors: Kiera O'Toole Gemma Garner, Angelo Kehgias
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Drawing Dialogue
Participants made marks and respond to their previous marks and the marks of others.
Photographer: Angelo Kehagias
Participants made marks and respond to their previous marks and the marks of others.
Photographer: Angelo Kehagias
Bulgandry, Australia
Site visit to the Aboriginal site of the Bulgandry Rock Carvings. Bulgandry is the name of the ancestral warrior hero depicted in one of the carvings on this site. Gabi Duncan, spoke about the beliefs and traditions of the Aboriginal Dream time Culture and dance.
Site visit to the Aboriginal site of the Bulgandry Rock Carvings. Bulgandry is the name of the ancestral warrior hero depicted in one of the carvings on this site. Gabi Duncan, spoke about the beliefs and traditions of the Aboriginal Dream time Culture and dance.
'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', 2013
graphite, acrylic, masonite board
graphite, acrylic, masonite board
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.
Installation image: Opening the box,2013, 4 Point Gallery, NSW, Australia.
(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.
Installation image: Opening the box,2013, 4 Point Gallery, NSW, Australia.
(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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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, 2010
'TEXTURES OF PLACE', 2010
Public Art Project, Gosford, NSW, Australia.Funded by Gosford City Council.
Artistic Director,: Kiera O'Toole.
Artists: Neil Berecry-Brown, Sharyn Walker, Josephine Laina, Peter Baka
Public Art Project, Gosford, NSW, Australia.Funded by Gosford City Council.
Artistic Director,: Kiera O'Toole.
Artists: Neil Berecry-Brown, Sharyn Walker, Josephine Laina, Peter Baka
PRESS
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.
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'Romantic Ireland's Dead and Gone', 2007,
charcoal and graphite on archival paper.Gosford Regional Gallery
charcoal and graphite on archival paper.Gosford Regional Gallery
'Dollymount Bridge',2005
Talbot Gallery & Studios, Dublin, Ireland
Dublin Grey, 2005 Charcoal and graphite on paper
It's a Cold and Broken Hallelujah, 2000
Handmade charcoal made from driftwood from dollymount beach, Dublin, Ireland.
Handmade charcoal made from driftwood from dollymount beach, Dublin, Ireland.
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