All posts by Hilary Murray

Writing and reviews by Hilary Murray

PROJECTS

ArtBox has now moved into our projects phase and will no longer have a presence at Unit 3, James Joyce Street, Dublin 1. Though we are sad to leave the MONTO we are keen to engage with other communities and groups.

Projects will kick-off in earnest at the end of 2018, in the meantime we are working with our long-term collaborators Arbor, using their multidisciplinary practice to branch into a host of fields.

For more information on our current research project, Grown Home, developed by Arbor and supported by the Grangegorman Development Agency and Dublin City Council, please see the Arbor website: https://arborprojects.wordpress.com

Thank you for your support during our time at James Joyce Street!

Hilary Murray

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Naomi Draper

FLORILEGIUM
A GATHERING OF FLOWERS

Exhibition: Nov 2-26, Private View: Thursday, Nov 2

Event: Friday 24th (6-8), Sonic work response by Sean Carpio as part of Dublin Gallery Weekend.

This body of work references a diverse range of research sources that are centered around botany and botanical activity throughout western history, exploring the relationship between human and plant species.

The work involves a large scale pressed flower installation, a series of lithograph prints and drawings in glass. A related sonic work will also be developed in collaboration with composer Sean Carpio over the course of the exhibition period, this will be performed at ArtBox as part of Dublin Gallery Weekend on November 24th.

ABOUT THE RVAF AWARD

The Roscommon Visual Artists Forum Award supported by Roscommon Arts Centre & Roscommon County Council Arts Office was established by curator in residence Linda Shevlin to provide visual artists based in or from the county with a platform to develop their practice. In response to the needs and requirements of the artists in the county, the RVAF award was set up in 2015. Naomi Draper was selected by Hilary Murray from an open call and was supported with a production budget, a residency at ArtBox, Dublin and an exhibition at both Roscommon Arts Centre & ArtBox.

 

logowhite    RAC logo

 

Michelle Hall: Lost in Papancha, Ways of Escape

Exhibition dates: 28 Sept-21 Oct. Preview: Wed 27th Sept.

Closing Event: October 21st

Michelle Hall is an interdisciplinary artist and writer. Throughout her practice she uses details, textures, words and objects to create works that examine modes of behaviour and thought. She is a recent graduate of the MA Art in the Contemporary World programme at NCAD and completed her BA Fine Art at DIT Portland Row in 2007. In 2016 Hall was jointly awarded the RC Lewis-Crosby Award at in the inaugural RDS Visual Art Awards. Her work has been selected for the upcoming StartPoint Prize exhibition, Prague, after which she will travel to London for a research residency with The CENTRE FOR THE STUDY OF SUBSTRUCTURED LOSS. Hall has been awarded the Arts Council Film Bursary 2017, the Dublin City Council Tyrone Guthrie Residency and the Fingal County Council Project Award.

Culture Night 2017 will mark the halfway point of Michelle Hall’s PROCESS Residency at ArtBox Gallery, Hall will project a preview trailer for the exhibition into the large-scale window of the gallery turning the street into a temporary cinematic space.

Culture Night screening will take place Sept 22nd from 6-10pm, Window, ArtBox James Joyce Street, Dublin 1.

This project is kindly supported by Fingal County Council Arts Office.

culture night fingalCClogo

 

PROCESS Residency: Helen Hughes

Dates: August, 2017

Open Studio: Wed Sept 6th (6-8), continues Thurs 7th, Fri 8th (11-5)

ArtBox is delighted to announce Helen Hughes as our latest PROCESS Residency artist. Hughes will take over the space at ArtBox for the period of August. Helen Hughes’ practice is predominantly sculptural, using expendable materials from modern mass production systems. Often developed for specific sites, materiality is central to the work and both found objects and purchased industrial products are utilised. Colour is prominent, in particular colour that is innate to materials.

Reflecting on consumerism and focusing in particular on the area of intersection between the individual and the structural, this artist strives to humanise a seemly dehumanised behaviour linked to materialism. Materials include isocyanates, resins, and plastic along with readymade commodities. Switching the importance of form over function the component elements are playfully reworked through removal, addition and recasting, to disguise or reveal appearances and draw attention to latent qualities in the materials. No longer presenting the homogenous manufacture of industrial products, materials and objects begin to mimic each other and other things. A process of fluid and gestural physical engagement is used to activate machine finished forms and force them out of an inertia. Often shiny and alluring, selected materials can be wilful, unpredictable and difficult to control. Working against their intended use by disrupting the designed functioning of these materials allows the artist to probe the homogeneity of mass production. Adding layers of history, the intention of the work is to present combinations of altered consumerist objects and relations to connect with narratives of memory and subjectivity. Just as mass-produced goods are utilised physically, titles are found and borrowed from a number of typically mass-media sources.

Hughes completed a BA in Fine Art from Chelsea College of Art and MA from IADT in Visual Arts Practices, recent exhibitions include A Bounce Borrowed, The Dock, Leitrim (2017), Tulca Festival, Galway (2016) and Veins, Molesworth Gallery, Dublin (2016).

in nervous twos and threes

in nervous twos and threes

Installation Dates: June 20th-24th.

A culinary response by Arbor to the work and inspiration behind the paintings of Kevin Mooney. This site-specific installation will feature in the gallery during Kevin Mooney’s solo exhibition “Seeing Things” to coincide with National Refugee Week.

This responsive work explores the dialectics involved in the notion of homeland and the idea that food is integral to ones memory of place. These memories are not fixed,  but remain as an intangible essence of place, delicately framed within a subjective reference.

“We sat tight
On short cross-benches, in nervous twos and threes,
Obedient, newly close, nobody speaking”

Extract from, Seamus Heaney, Seeing Things

 

For more information on Arbor projects: http://arborprojects.wordpress.com

SEEING THINGS

SEEING THINGS// Kevin Mooney

Exhibition Dates: June 1st-24th, Private View: Thursday June 1st (6-8).

Extended until June 30th**

In this latest body of work Kevin Mooney presents a series of paintings inspired by the ancient history of art in Ireland, and more specifically the poetry of Seamus Heaney. The series takes its title from the Heaney poem “Seeing Things”. Making reference to his father’s passing, Heaney’s work explores the thread of nature itself, the senses laid bare; exposing the links between body, spirit and heritage. In “Seeing Things” land becomes material, exposed and reflexive, the stuff of life coming to the surface and what has gone before momentarily intermingling with the now. It is here that much of Mooney’s work resides.

Inishbofin on a Sunday morning.
Sunlight, turfsmoke, seagulls, boatslip, diesel. 

That afternoon
I saw him face to face, he came to me
With his damp footprints out of the river,
And there was nothing between us there
That might not still be happily ever after

The paintings themselves explore a confusion of land and sky; the textures of both are complex and heavy, each meeting and closing in on the other – overlapping sometimes, yet resiliently retaining them-selves. For much of Mooney’s practice this idea of overlap occurs both physically and metaphorically – his paintings explore this other space of our existence, the one that appears just out of the physical viewpoint. Shades of green and pewter expose the land, tempering the space of the work with a perceived knowableness. Nebulous heads furl and uncurl, eyes appear wide-eyed and surfacing, manipulating the weft of the linen into a diorama of imagined faces. Gold flecks and scrapings expose the under painting, as if the artist is aiming to create something tangible, and at the same time expose the folly of doing so.

As an Irish painter Mooney is not coming from that space of defined lineage, more a chaotic and rich re-appropriation of styles that span our ancient pagan symbology, a schism of European figuration and 20th Century abstraction. Therefore this deconstruction of painting, the slipping into and out of figuration and symbol, allows for an informed analysis of where painting today is coming from, and ultimately, where it is going.

“One cannot crystallise in material form what does not yet exist in material form. The spirit that will lead us into the realms of tomorrow can only be recognised through feeling (to which the talent of the artist is the path). Theory is the lantern that illuminates the crystallised forms of yesterday and before.” 1

  1. Wassily Kandinsky, Concerning the Spiritual in Art, 1914

Hilary Murray, Curator ArtBox

Kevin Mooney is an Irish artist based in Cork. He graduated from the Masters in Fine Art, NCAD in 2012. Solo shows include “Twilight Head Cult”, Ormston House, Limerick, 2016, “Wave”, Pallas Projects, Dublin 2014, “Dog Island Tales”, Talbot Gallery, Dublin 2014, Nag Gallery, Dublin 2010, “Timeline” Queen Street Gallery, Belfast, 2010 and “Facade”, Mermaid Arts Centre, Bray, Co. Wicklow, 2009. Selected group exhibitions include “Looking Forward, Looking Back Now”, at Tactic Gallery, Cork, “What Is and What Might Be”, Highlanes Gallery, Drogheda, 2015, “Making Familiar”, Temple Bar Gallery, Dublin, 2012, “Horizon Sprawl”, Ormston House, Limerick 2012, and “Video Killed the Radio Star”, Royal Hibernian Academy, Dublin 2010. He received a Visual Artists Bursary from the Arts Council of Ireland in 2012, 2013 and 2016. In 2015 he was shortlisted for Wexford Arts Centre’s Emerging Artist Award. He was also shortlisted for the Thames and Hudson publication “100 Painters of Tomorrow” in 2013. In 2012, he was longlisted for the Saatchi New Sensations Prize.

The Waiting Room

Ella Bertilsson & Ulla Juske

Exhibition Dates: April 27th-May 20th

The Waiting Room is a narrative driven audio-installation that challenges our perception of time. Waiting rooms are liminal, transitional places. A place where you wait to go somewhere else, impersonal and quickly forgotten. Waiting rooms are often functional spaces where the visitor has little control on how much time the wait will last. Here Ella Bertilsson and Ulla Juske’s waiting room at ArtBox creates a zone of attention; emphasising and acknowledging the subjective experience of time passing. Keeping track of time, on time, time to come, wasting time, killing time, time on our hands, times up, time is running out, as the time goes by, watched pot never boils, loosing track of time, expecting something to happen…

Part of the installation is a selection from Austin Hearne’s latest collection ‘Little Flowers’. Sexy, beautiful, ugly, dead, dying, everywhere. Flowers; symbols of life, love and death, memorials to those past and passing. We are all flowers, battling time, only we have infinitely more than our showy friends. They remind us of our vibrancy, our individuality, our autonomy and cruelly our end. The installation will also be kept company by an essay of sorts by CSO Keeffe, who was invited by the artists to face up to the fact of her and your impermanence.

A Waiting Room Special Edition work (Ed. 5) by Ella Bertillsson and Ulla Juske containing a set of 5 20×20 cm prints, as well as a single larger edition print 23x35cm, (Ed. 10) are available to purchase through the gallery.

The artists would like to thank the following:
The University of Iceland
Uppsala University
Stockholm University
STAR, Stockholm Amateur Astronomers
Amateur Astronomy Society of Seltjarnarness
Estonian Embassy
ArtBox
OPW
MART
Paul Plunkett
Davey Moor
George Brennan
Richard Howard
Annika Edlund
Lena Kjersén Edman

This exhibition is kindly supported by the OPW and The Estonian Embassy.

OPW

Standard Exhibition

STANDARD EXHIBITION

Neil Carroll, Conor Mary Foy, Olivia Hassett, David Lunney, Alex de Roeck and Zoe Sheehy

Curated by Davey Moor

Dates: 10th March – April 8th.

Preview Thursday, 9th March (6-8pm).

Standard Exhibition is a six-person group show comprising artworks which take the form of flags for some reason {psychological terror through esoteric symbolism; ambiguous markers of uncertain intent; micro-heraldry?} or another {conduits for elemental power; alternative (symbol) facts; all artwork are flags?}

The publication, Six Conversations About Flags, featuring writing by Curator Davey Moor and artists will accompany the exhibition. A limited edition work by Conor Mary Foy will also be available to order. Please contact the gallery for more details.

A panel discussion on Vexillology and Art, chaired by Stanislav Zamyatin, CEO, Vexillology Ireland, will take place on Saturday, April 8th from 2-3pm at ArtBox Gallery. Booking is required: https://www.eventbrite.ie/e/vexillology-and-art-panel-discussion-tickets-32500562056

Process Residency: Ali Kirby

Residency Dates: Jan. 5th-Feb. 1st

Open Studio: Feb 2nd-10th, preview Thurs Feb 2nd (6-8pm).

Ali Kirby creates sculptural assemblages and installations that visually respond to the built environment. Ordinary construction materials are re-purposed to create seemingly robust structures that reveal their fragility upon inspection. Concrete, plaster, soap and textiles often sit side by side in these sculptural arrangements that position themselves somewhere between interior and exterior space. Her approach to materials and colour is intuitive, often employing a muted palette, soft textures and hard edges to create the various surfaces and forms normally associated with architecture. These soft-edged fabrics and forms butt up against concrete or wood in an attempt to draw our attention to the relationships between materials, how they connect, support, become damaged or distressed and ultimately reveal their potential for transformation.

 

Ali Kirby, born in Dublin, Ireland, recently graduated with first class honours (BA) in Fine Art from LSAD, specialising in Sculpture & Combined Media. Recent exhibitions include only connect (2017) Kevin Kavanagh gallery, Dublin, all shimmers here (2016) MART gallery, Dublin, Describing  Architecture – Memory and Place (2015) City Assembly House, Dublin, the 185th RHA Annual Exhibition (2015) Royal Hibernian Academy, Dublin, Periodical Review #4 (2015) Ormston House, Limerick, Periodical Review #4 (2014) Pallas Projects,Dublin, First Light, LSAD Graduate Show (2014), LSAD, Limerick, Essays for the House of Memory (2014) Ormston House, Limerick, Open Drawing Awards (2013) LSAD, Limerick, Single Channel (2013) Chartier Arts Venue, Connecticut, USA, Undertow (2012) the LAB, Dublin, Undertow (2011) Ormston House, Limerick, Open Drawing Awards (2010) LSAD, Limerick.