Sea-Change Nothing of him that doth fade But doth suffer a sea-change, into something rich an strange
William Shakespeare, The Tempest
A new body of work comprising of delicate bronze sea forms alongside sand pictures, exploring, comparing and contrasting themes around our Earths wealth and riches, by Rachel Joynt RHA will be on exhibit in the RHA Ashford Gallery. This work plays with the complex relationship between ecology and the economy and the ebb and flow within markets and ocean currents.
Heads or Tails 1 (detail), 2013, Bronze, led light, Portland stone, 40 x 20 x 20 cm
Rachel Joynt: “Sea change” detail
Joynt brings a level of delicacy and fragility to figurative sculpture based on these sensitive and fragile life forms that inhabit unpolluted pockets of ocean.
Using the Echinoid Skeletons, in particular the Sand dollar species, as a metaphor for richness, wealth and the search for rejuvenation and sustenance. Perforated symmetrical forms that emanate warm light in chalky opalescent colours. In reference to Sand dollars; ‘is a creature whose very strangeness helps us to see ourselves more clearly by showing us what we are not’. The Ancestor’s Tale by Richard Dawkins.
Permanence, transience and flux are reoccurring themes and her use of sand, light, glass, bronze and cast iron underline this. For Joynt, scale is also important, transforming our normal viewpoint by using different magnifications, she allows the subject to take on a new presence.
Also congratulations to 9 stones artist Gwen Wilkinson, showing new work in a group exhibition entitled Lacuna at the Taylor Gallery
8 – 30 November 2013
LACUNA [ 01 ]
Lucy Andrews, Maggie Madden, Seán Molloy, Eveleen Murphy, Helen O’Leary, Gwen Wilkinson
curated by Sabina Mac Mahon & David Quinn
*In Conversation event with artists and curators: 1pm, Saturday 23 November 2013*
LACUNA [ ] is a new curatorial project at Taylor Galleries co-curated by David Quinn and Sabina Mac Mahon. Situated in the first floor exhibition spaces of the gallery at 16 Kildare Street, it is planned as an occasional and on-going series of exhibitions and publications that will run alongside the gallery’s main programme and embrace experimental and enquiring practices in image- and object-making. When an empty space is encountered it can evoke a desire to fill it with something; to make it complete. In addressing this compulsion LACUNA [ ] both asks and answers the question, ‘With what?’.
Six artists have been invited to take part in the first iteration of the series, LACUNA . Rather than asking them to respond to a theme, LACUNA  embraces the diversity of their current practices, processes and concerns, offering them a space in which to show new and recent work that encompasses sculpture, drawing, installation, painting and photography.
Gwen uses an antique Gandolfi half-plate camera dating from the 1870s to produce 6½ x 4½ inch wet plate collodion photographs that are both technically complex and aesthetically beautiful, both as images and as objects.
Invented in 1851, the collodion process produces one-off images on glass (ambrotypes) or tin (tintypes) plates. In Gwen’s series Edifice and A Fine Balance she uses this seemingly out-dated process to explore the built heritage of rural Ireland and the ancient Japanese bonsai cultivation of kokedama (literally translated as ‘moss balls’) suspended on lengths of string.
The 9 stones artists have been excited to see how Michelle’s stone sculpture has been developing. She has recently completed a stunning new stone sculpture for Carlow town and this follows some other significant public art commissions. There will be an official ‘unveiling’ of the new sculpture for Carlow, details to follow. Congratulations Michelle!
Recent installation and other recent public commissions below
New work for Carlow town
Journey: commission for St Mary’s School, Thomastonw
9 Stones artist Cathy Fitzgerald’s new experimental film ‘The black space (resilience) of the Ash night’ (2013) was recently selected for the 2013 UCD Science Expression film festival. The film was shown with others in a mobile pop-up cinema to celebrate and reflect on the natural world. It was held at the Botanic Gardens, Dublin.
The context provided the inspiration for this commission.
A huge granite boulder sits to the side of the 100 meter glass atrium.
This has a series of playful ring marks cleanly cut into its surface and from it leaps the main feature.
It is a 63 meter long curved conical ‘horn’ form appearing to penetrate the glass curtain wall and is then suspended in a huge ark overhead in atrium.
It is a semi transparent brass and stainless mesh helix, ending in a 2000mm open mouth seen here.
Remco de Fouw’s photographic installation ‘Reconnection Series’ which was produced for the 2012 9 Stones show in Deighton hall, Carlow, recently received The Curtin O’Donoghue Photography Award at the 2013 RHA Annual show and was purchased by them for their prestigious collection.
Congratulations to 9 Stones artist Annabel Konig for her new residency with the Co. Waterford Arts Office. Below Annabel discusses her latest work
“I am currently working as the sea-side artist in residence for the county Waterford arts office, with Co. Arts Officer Margaret Organ. This residency, which will run for about 8 months is an exploration of the coastal towns of the county and how the local community, landscape and villages spend their time in the off season. I am interesting in gathering stories from the locals and making a visual diary of the sea/land during this period. The works will be shown at the Dungarvan Arts Centre during the summer (2014) and in some of the local community halls of the villages where I am working.
“I am also working on a local project which investigates farming and the farmers in my local Carlow area. I am looking into how they use their inventiveness, ingenuity and knowledge to farm, fix and manage their livestock. This, currently is a photographic project.”
This is the video Annabel created for her recent MA fine art exhibition installation, inspired by the environment in which she lives:
‘I have been taking images of the poly-tunnel in my garden over the past two years. I have documented the tunnel in various weather conditions and at different times of day and night. The poly-tunnel, by itself, is not a thing of beauty, however it has, over time, become to me a constant revelation.’
‘I considered how in and around the man-made structure of a poly-tunnel, nature’s firsthand details are gradually revealed. We are now living in a sped-up world. We allow the accepted shortcuts of “looking” to block out using our time to really see an image. Highlighting how the familiar becomes strange, my images ask the viewer to look with a slower and more deliberated eye at the images made apparent.’