Page 1

NCAD Postgraduate Yearbook 2010

NCAD Postgraduate Yearbook 2010


First published in 2010 by NCAD – National College of Art and Design Coláiste Náisiúnta Ealáinte is Deartha (NCAD) is a recognised college of the National University of Ireland.

© June 2010. All rights reserved NCAD, the artists, authors and publishers. All rights reserved. No part of this

publication may be reproduced, stored

in a retrieval system, or transmitted, in any form or by any means, electronic,

mechanical, photocopying, recording or

otherwise, without the prior permission in writing of the publisher.

Publication Coordinators: Dr. Siún Hanrahan, Head of Research &

Postgraduate Development and

Margaret Phelan, Research Office Administrator, NCAD.

Design: Language, Print: Watermans Printers Edition of 1,250

«« Susan MacWilliam, ‘F-L-A-M-M-A-R-I-O-N’, 2009, Blu-ray, 17mins 13secs

Contents 7



Student Research 10

Students Completing 2010


MA – Design


Master Of Fine Art

24 56




90 96

M.Litt – Education

MA – Art In The Digital World

MA – Art In The Contemporary World

MA – Design History & Material Culture PhD in Education

PhD in Visual Culture

Staff Research

124 Projects & Events

This publication has interactive elements that make it easier to use. To visit

a website or send an email to an address listed in the document, click on the

underlined link. Your web or email browser will automatically direct you to the address.

Preface A key theme to emerge from the recent

Some students have chosen not to have

importance of Irish Culture to the image

such as those graduating from our

Global Irish Economic Forum was the

and influence of Ireland as a small island and economy in a hugely competitive

global context. At NCAD, we would argue that contemporary developments in art

and design have a significant contribution to make in repositioning Ireland as the innovation island and smart economy aspired to in Government policy.

The NCAD vision is to be in the world and

to speak and be heard in the culture, in the economy and in the society. The research and innovation of our postgraduate

students make a crucial contribution to

our ability to realise that vision. Across the range of postgraduate programmes offered by NCAD we seek to enrich and challenge the practices and understandings of our

students, and to be enriched, challenged and renewed as a College through their insights, critique and energy.

The first part of this yearbook showcases

the work of students who are graduating

at Masters or Doctoral level this year, and

gives no more than a glimpse of the vibrant critical engagement of our students

within their particular area of study, in

support of each other’s development and in expanding disciplinary boundaries.

their work represented. For students

groundbreaking MSc Medical Devices

Design this choice is in itself indicative of the innovative and highly valued nature

– conceptually and commercially – of the outcomes of their study.

In cultivating and meeting the challenges posed by its postgraduates, the active

participation of staff at the cutting edge of national and international research

and practice is crucial. The second part of this yearbook – offering a glimpse

of the research interests and activities

of individual staff members, and brief reports on a range of initiatives across

the college – suggests something of the research culture and infrastructure driving the development of NCAD.

Ireland has a deep and world-renowned cultural legacy, but a key platform for

our economic, social and cultural future lies with the creativity, innovation

and energy of Irish art and design. In

celebrating the work of these students we

are confident of the contribution they will make to forging this future. Dr Siún Hanrahan

Head of Research and Postgraduate Development


Student Research


Students Completing 2010 MA – Design

Master Of Fine Art

Karina Abdulbaneeva

Catherine Barragry

Inez Nordell

Adam Burthom

Laura Mays

Samuel Russell Eleanor Swan

Aris Venetikidis

MSc – Medical Device Design Ronan Benson*

David Delahunty* Andrew Fan* Adam Foley*

David Hynes*

Owen Boss

Cian Fanning

Sylvia Hemmingway Gareth Jenkins

Lisa-Marie Johnson Colin Martin Eileen Mills

Kohei Nakata

Maria Louise O’Brien Tom O’Dea

Marie Louise (Molly) O’Dwyer Sean O’Dwyer

Luan Lawler*

James McIlvenna*

MA – Art In The Digital World

Ciaran O’Sullivan*

Tony Kenny

Martina Moyne* James Toland*

M.Litt – Education Andrea Cleary

Helen Maguire

Aishling Muller Laragh Pittman Ciara Scanlan

MA – Art In The

Contemporary World Cormac Browne

Miranda Driscoll* Emma Dwyer*

Siobhan Geoghegan* Ciara McMahon Joseph Nagle*

Patrick Nyhan*

Catherine O’Carroll* Rebecca O’Dwyer*

PhD in Education Michael Flannery Hazel Stapleton

PhD in Visual Culture Kevin Atherton Brendan Earley Silvia Loeffler Declan Long*

Marie Soffe*

Kathleen Tynan*

Sviatlana Zhohal*

MA – Design History & Material Culture Clare Barman

Mairead Enright

Aifric Iremonger Mooney Noreen McGuire David Purcell

Lorraine Smith

Penelope Whorrod Eimir O’Brien

Saive O’Donoghue

* Does not appear in catalogue


Karina Abdulbaneeva My work is about form and its relation to

If I was asked what I was aiming to

visually continue the shapes of our body,

working on forms of my vessels I

the human body. I create vessels which

fitting in the negative space around it. The lines of the body define the shapes of the vessels, creating that intimacy between

two forms, where the vessel is for the body and the body is for the vessel. I would say that moment of touch has become the major concept in my MA project.

Because my vessels are not functional, I believe I can question in my work a

necessary stability of the vessel/container

on the surface for the purpose of function.

achieve during my MA course in NCAD would say I believe that any form is an expression of an emotion. If the form

is well developed it makes us identify

ourselves with it. When it is, it carries

our eye around, altering our egocentric

position, mediating between an observer and a physical space it is in, the form is

alive, and this I see as the highest possible achievement of the artist.

The form of the vessel traditionally was created to be stable, so it was created

first for the surface and then to fit into a human hand. In my work I am trying to

change that traditional order and see how the vessel will look if, first, it is created to fit into the hand or arm, or balanced

on the shoulder or head, and second, how that form will be related to and appear on the surface.


Laura Mays I am looking at craft as a process

and a product that has been broadly

speaking marginalized by mainstream culture. Nonetheless it can serve a role as a medium of critique of the mass

production and mass consumption of

objects. I am making a series of chairs that serve as vehicles of inquiry into the issues that surround and define contemporary craft: the value and

meaning of types of production and material, the derivation of form,

the ‘death’ and re-use of objects. I

suggest that craft objects are things

with a heightened sense of the web of

connections that surround all objects: they are hyperthings.

Specifically I have followed two ‘patterns’ of chair: that of a ‘traditional’ Irish

chair, and a mass-produced chair sold in Ikea. From these two archetypes I have developed a series of nine chairs.

For further information, please contact me by email:


Inez Nordell Costume for Performance

Project 3

Having spent many years as a practising

One Book Festival 2010. A background

Costume designer in Film, TV and Theatre I am using the opportunity in my Masters research to study and illuminate the

The Picture Of Dorian Gray, for the One City exhibition, Studio portrait of the main character and performance costumes.

processes and practice of Costume Design

This diverse project is a combination

performance over a range of formats.

performance and promenade along with

and the role and validity of Costume in

I am analysing the role of the

Costume Designer on various levels

in intellectual, creative and practical terms using as a framework varying

productions and projects in which I have recently been involved. Project 1

These include the TV series Apparitions

for BBC1, a six part contemporary drama on film set in London and the Vatican. This project was a commission for the

BBC and was produced by Annie Harrison

Baxter, an award-winning producer. I was responsible for designing the costumes

of research presentations, costumed

student workshops. This extensive brief

involved thorough researching of the text and period along with the wider context

of the aesthetic movement in all branches of the arts. It has been an absorbing and rewarding experience which, has given

me new perspectives, understanding and appreciation of my professional practice

Costume design is a collaborative process involving input from writers, directors, producers and actors in which the

Costume Designer endeavours to realise

the collective vision in an effort to define character and drive plot.

and coordinating the costume content

As a culmination of my research, in an

characters through the series.

the strands of this complex discipline I

for the pilot episode and developing the

Project 2

Bram Stoker’s Wedding, a recreation of the event set in 1878 and staged as part of the Award winning 2009 One City One Book Festival at the original venue St.

Anne’s Church. Dublin. For this project I

in-depth analysis, drawing together all am charting the creative, research and production processes involved in the

interpretation of text through costume for performance.

costumed celebrity and literary characters of the period using a limited palette to compliment the period setting.


Sam Russell Innovative Aid: Exploring the role

economic sustainability of the local NGO,

aid context

fishing communities and increased local

of design process in a development

The focus of my research project is on the links between industrial design process and the practice of non governmental organisation’s (NGO) involved in

development aid. I think that industrial

it reduced the environmental impact of

acceptance of water safety devices. It also

offered a new profitable industry through sale of newly designed NLRI fishing

floats. To date 500 lifejackets have been produced with more to follow.

designers can help NGO’s research and

The design process for the Megafloat2

of environmental, social, economic

in nature. It allowed for input from all

develop projects that address issues

and institutional sustainability in a development aid context.

I spent 10 months in Uganda working with Design Without Borders, The

International Maritime Rescue Federation and The National Lake Rescue Institute (NLRI). My work there focused on re-

designing and developing an affordable, locally produced lifejacket for sale

amongst the fishing communities of

was human centred and participatory

relevant stakeholders in development of the final product. My thesis highlights aspects of this design process that

could positively affect the work process of charitable NGO’s in general, the

products and services that they provide

and the overall long-term impact of their development aid.

Lake Victoria and Lake Albert. The new lifejacket, the Megafloat2, provided

a cheaper, more effective product for

NLRI, that is proving to be much more

successful than its predecessor. However, the overall outcome of the project also

demonstrated that design process could

have much broader impact than just the re-development of a product. The re-

designed lifejacket positively affected the

«« Innovative Aid


Eleanor Swan Seeing transcends sight. There is a fluid interrelationship between our senses,

between sight and sound, between how we experience and think and between memory, imagination, knowledge,

perception and distortion, all of which

form tangible connections between our external and internal being.

My research to date has centred around the issue of how can someone who is

visually impaired grasp the energy and excitement in a 2D work of art if they

cannot see it. The body of work I have

created addresses this issues by providing an alternative sensory experience, touch.

I decided to limit the research by focusing initially on the portraits painted by one artist, Francis Bacon.

The tactile and malleable qualities of clay allow me to transcribe the energy of his

bold mark making and passionate colours, almost in the same way braille provides access to the written word. Equally

the works embody my own aesthetic

sensibilities and emotional response to Bacon’s work and thereby function as works in themselves.

«« Cearbhall O’Meadhra, ‘Michel Leiris’ based on the Francis Bacon Portrait ‘Michel Leiris 1976’


Aris Venetikidis Visualisation of a visionary public transport system for Dublin

A main factor in improving the quality

of living in Dublin is tackling its public

transport and traffic problems. A variety of opinions and proposals are frequently

surfacing in heated debates about which way to go forward. My own surveys and research identify the lack of a coherent integrated map as a fundamental

problem, while the transport system itself is in dire need of simplification, review and reorganisation.

My MA research project takes the

customer experience as a starting point and uses existing recent academic research in sustainable transport

solutions for Dublin. The result is a

visionary transport system for Dublin,

using existing transport structures along

As a graphic designer, I believe that

every public transport system is only

as understandable, user friendly and

– ultimately – as good as its maps that

represent and explain it. Therefore, this project undertakes an experimental

approach to maps and cartography. I am using effective elements of successful

public transport systems from all over the world along with my research and

apply them to Dublin’s unique setup. A series of new maps utilise factors like

simplification, geographic distortion,

street widening/straightening, colour

coding etc. to generate purpose built maps that visualise a visionary public transport system for the greater Dublin area.

with upgrades and the introduction of

a network of Bus Rapid Transport (BRT)

Routes, that deliver a high level of quality, speed and convenience at a comparatively low installation and operation cost.

Furthermore, it adjusts the existing

regular Dublin Bus network to work hand in hand with the new BRT routes.

«« Visualisation of a visionary public transport system for Dublin


Andrea Cleary Fabric and fibre in the visual art

A multi-method approach to research

of curriculum, teacher attitudes and

and documentary evidence were the

Primary Curriculum: An examination experiences.

The purpose of the study is to examine teachers’ attitudes and approaches for

using fabric and fibre in the visual art

curriculum. In 2005 one fifth of teachers stated the need to prioritise fabric and

fibre in the visual art curriculum (NCCA 2005). The hypothesis for this study is

that a gap exists in teachers’ knowledge and understanding of the potential of

was adopted. Interviews, questionnaires sources of data analysed for this study. Interviews were conducted with four key educators in visual art education and training in the primary sector.

Questionnaire responses were analysed

from a purposive sample of thirty seven primary teachers. Triangulation of the

data from questionnaires, interviews and

documentary sources shapes and validates the research.

fabric and fibre within the curriculum.

Analysis of the data revealed themes of

One of the primary objectives of this

for teaching and learning and Enjoyment.

research study was to gain a deeper

understanding of teachers’ education and experience in fabric and fibre, to measure and assess the frequency and quality of

methods and approaches used for fabric and fibre in the classroom. Another

focus was to examine teachers’ use and

Time, Ideas, Knowledge of Media, Approaches Participant teachers have a mostly positive attitude and openness of

approach to fabric and fibre. Participants

reveal the impediments of Lack of Knowledge and Ideas, and Approaches for ‘what to do’ with the strand of fabric and fibre.

understanding of the curriculum and the

A number of conclusions are drawn

fabric and fibre in the classroom. The study

resources and the changing nature and

support it offers teachers in delivery of

aimed to assess any challenges or concerns which teachers identified in relation to

planning, teaching approaches and using fabric and fibre in their classrooms.

in respect of teacher education,

understanding of craft in education. Some specific recommendations are made in respect of policy responses for initial

and continuing teacher education, and for the potential of fabric and fibre in

cross-curricular contexts, especially with science education. 25

Helen Maguire The term design can be somewhat

This thesis critically investigates the

interchangeable depending on a particular

& design methodologies in post primary

confusing as its meaning is fluid and context and its use can encompass a

variety of denotations. Nonetheless design is a key focus of Home Economics syllabi and teaching of Home Economics at all

levels is centred on the implementation of design brief process methodology.

In undertaking practical design activities the student designer is necessitated to foster an understanding relationship with the manufacturing process and

materials along with insight, ideas and

creativity. For designers in various fields the emphasis may be different; for some there is a great concern with making

objects, with obtaining finish and quality whereas for some the notion of quality

may be less of a focus. Similarly, in design education approaches may vary with

students acquiring and then applying

skills at one extreme, to students being

nature of emphasis on design education Home Economics in order to determine practicing Home Economics teachers’ preferences for design led or skill led

methodologies and explores the extent of focus on process versus product in their

teaching of practical project-based textiles modules. Subsequently interviews were conducted with design academics to

explore their experiences of teaching and applying design process methodology in a variety of undergraduate project-

based textile modules in Ireland. This

investigation facilitated an interrogation of methodology related to teaching /

instruction modes and outcomes and the

development of an understanding of best practice in the implementation of design process methodology.

motivated by ideas and concepts which will lead to the acquisition of skills as and when required at the other end of

the spectrum. What is the most effective approach to design education and

particularly to the implementation of the design process?


Catherine Barragry For some time now I have been generating

The practice I have developed over the

performance, video, image and sculpture.

open on to the wider state of things. It is

intense, intimate gestures through

More recently there has been a shift in my practice toward embedded events,

where the gesture becomes about creating contingent cultural possibilities. The

works are fragile; on the edge of existing.

course of the last two years is intended to permeable to its own history, but also to

an innate sense of what it is to be human; to desire, to experience and to play.

They can seem both ancient and nascent. They occupy space between insular

inner worlds of human and animal, and

expansive territories of politics, evolution, becoming and consensus public.

At the moment I am looking at contingent ways of occupying public space. The

works are low-key events/happenings/

occurrences. The occurrences are drawn together using amateur methods. The

dissipation of the event and the materials is as important as its happening. I watch how contested, fallow and hidden spaces are used, and the shift that occurs from daylight to nightfall in public space. I

look at these as liminal experiences of the

human. The work is positioned in relation to these sites and practices; its awkward charm at odds with its surroundings.

«« ‘Urban Encampment’


Owen Boss In 2009 as part of my collaborative practice

The ancient Irish was translated to English

Anu Productions is an interdisciplinary

of the day. It was used as a catalyst for work

I became a co-founder of Anu Productions. collective that functions across visual

art, theatre and dance. In February 2010

Anu was awarded a three-week residency at the Watermill Center, New York. The

Center was founded in 1992 by theatre and

visual artist Robert Wilson. The Residency, allows artists to utilise the Centre as a

home and workshop for a concentrated

period. The residencies are selected by a

high-profile committee including Marina Abramovic and Alanna Heiss.

We worked on the ancient Irish text Fingal Rónáin which was written in the 10th century and bears similarities to the

international Greek tale Phaedra. This text was our point of departure. The group

that travelled to New York consisted of

a visual artist, a director, two actors, a designer, a producer and a professor of Irish folklore.

and placed within the cultural framework that was embedded in visual art/theatre and we were intrigued by avenues of

dissemination which would ensue between artist, theatre maker, actor and designer. The idea was to be stimulated by each

other; not with the pressure of production but in the genesis of ideas; allowing

ourselves to be pushed in unexpected associations and fruitful directions.

We worked with other Phaedra texts,

including Racine’s, Sarah Kane’s and Charles Mee’s. The four texts were deconstructed, manipulated and

reassembled as a script and performed

at a public rehearsal that consisted of a number of scenes and installations. At times the audience were placed in the

middle of a performance between actors, and at other times they were placed

between disciplines. The two disciplines of visual art and theatre became embedded together.

«« ‘Fingal Rónáin’


Adam Burthom The proposal which initiated this

political practices. These are internalised

between everyday life and art-world

already existing modes of societal norms

research set out to chart a position

discourse, which expanded a field of art intervention and would draw a wider participative audience into the work.

Everything that is encountered as sensory experience is received as a conditioning force, leaving traces on our mental and physical being which accumulate and

shape perceptions of the world around us.

by a subjected population as always and givens1.

The process continues to extend further into every aspect of modern living,

through the continuing development of communications, transport and

consumer technological hardware and its

constant attachment to imposed practices of daily life2.

Simple observation confirms the extent

To this end I have set out to develop

site and the place of conflict between

objects which interrupt normalised

to which the ‘public sphere’ is a contested competing power structures seeking to influence and condition society. This

phenomenon can be seen everywhere

one looks, but it is particularly acutely felt in urban centres where the use of

extreme sensual (audio/visual/olfactory/

tactile) and processual (routine/manners/ protocol) forms, creates an intensely

sedimented field of social, cultural and

a dialogical practice3 that utilises

perceptions and expectations, and bridge hierarchically instituted inside/outside, inclusion/exclusion divisions in society by forming a participative audience in

the work, that at once realises ‘the gap

between worlds’ as common ground for dialogue and signification.

1 Mouffe, Chantal, ‘On The Political’, Routledge, 2005. 2 “New information technologies can now organise very strict control over workers performance, gradually abolishing uncontrolled spaces.” “People are in the grip of production. What they believe to be their own desires, emanating from their autonomous will as unique individuals, are, unbeknown to them, the product of a manipulation whereby the suppliers of goods enslave their imagination.” Boltanski, Luc. & Chiapello, Eve, ‘The New Spirit Of Capitalism’, Verso, 2005. 3 “...dialogical work... is constituted as an ensemble of effects, operating at numerous points of discursive interaction.” Kester, Grant H., ‘Conversation Pieces: Community & Communication In Modern Art’, University of California Press, 2004.


Cian Fanning Lost Knowledge “We expect time to empower our sense of vision, but it does not. It only reveals our

blind spot, our inability comprehensively to see or understand a given image.” Michael Tarantino (1999)

In order for something to be lost, it must first have been discovered. There is an

overt realisation of some previous form of availability. The labelling of lost-subject signaling the deficiency in control of

that subject. What is not as obvious is that, often, inheritance of such as a

prefix unveils the presence of inquiry. Otherwise, for if it were never sought

after, it would not be dwelled upon, and

hence unrecognised. The addition of this prefix in front of the word knowledge is, for me, the most costly of realisations.

Mimicking reality, the motion picture seeks to reconceive it. Considering

only the fundamental workings of

the medium, one is presented with a

representative, or archival, version of Fergus. By virtue of the camera and

the archive, the document omits the

wider field of vision. The camera angle is fixed and the image is framed. This

functions from what Foucault determines as a process that enables statements to survive. Due to this method of

operation, and in order not to accumulate endlessly in an amorphous mass, time is

fragmented into chapters or statements as a montage.

Knowledge is the cognitive result of

perception and reasoning. Simply the

rationalising of experience, or as Simon O’Sullivan declares, “the formation of

adequate ideas which themselves arise from affects”. A compromise between

the internal and the external. In Fergus Martin’s case, the loss of a means to

understanding inevitably results in the loss of understanding. The faculty in question being his sight.

«« ‘Lost Knowledge’


Sylvia Hemmingway 13 Seconds The key notion in my work is the notion of

chance and unexpected history – time and its repercussions. In one sense it is cause and effect. I have been looking at the

many different aspects of an individual’s

identity, contrasting and linking present day and historical contexts from a social, cultural and personal perspective. I am

fascinated by the persistence of the past

in the present and the element of chance in the make-up of the individual

I look at different aspects of identity, their disappearance and resurfacing, and the effects the decisions of someone else, or

events in their lives, however small, have on their descendants’ lives and make-up. One facet of an individual’s identity

which I looked at is where someone else’s

There is an absurd notion in the speed of this decision-making of being able

to capture a decision almost randomly.

The codes that marked these people had such profound implications and far-

reaching consequences. Think of where they go and all the various random

events that influence what they ingest, the environment they live in and their life experiences.

I find it interesting that a fleeting

moment, which may have occurred 100 years ago, has the power to affect the

make-up of someone’s actual identity in the present day.

How do you happen to be where you are now? Is it chance? Is it fate?

decision/decisions alters the individual’s

Are you here at all?

inform my investigations in this area, my

path. Using my own family history to

work has taken its form from the methods used to assess the immigrants seeking entry into the United States through

Ellis Island. The Doctor was given just 13

seconds to pronounce each person as fit or unfit to enter the country.

«« ‘13 Seconds’


Gareth Jenkins “In the great pit of forms lie broken

The graphic/ linear mark making is in

They provide abstraction with its material.

application of the under painted layers

fragments to some of which we still cling. A junkyard of unauthentic elements for the creation of impure crystals.� Paul Klee 1

Over the past two years my practice has gone through many changes. At the beginning of the first year I stopped

painting for twelve months so I could

research other areas within contemporary

contrast with the more organic/gestural that rise and fall over the edge of the

board/canvas, pointing to the painting

as a multilayered object or construction. There are also questions raised that

concern the abstract qualities inherent

in my chosen pictorial forms and spaces, which could be perceived as either figurative or abstract.

art. Concerned with the changing of a

My painting practice has gone through a

I spent the year constructing large and

made easier by evaluating contemporary

given space and its architectural form, small scale geometric sculptures, made

out of toothpicks, coffee stirrers, cocktail sticks and other found materials.

In the second year, my interest in the geometry of urban and architectural

space/form began a daily photographic

multitude of difficult changes which were painting and sculptural practices

inherent in the art world that will help

create a more intuitive and challenging practice for me in the future.

record of the banal objects I saw on my

daily train journey. For example the way the light hits the corner of the wall and floor in a kitchen creating acute angles from the light, contrasting the grid

like structure of the floor tiles with the coloured stripes of a cheap rug, or the

zigzagging of brick paving and luminous yellow gates against the drab grey background of concrete offices. 1

Klee, Paul, (1979), Orphism: The Evolution of Non-Figurative Painting in Paris, 1910-1914, Oxford: Clarendon Press.


Lisa-Marie Johnson ‘The Parameters of the Gothic’ Assistant opens the door. Doors open, audience enter Start: Emily sitting on edge of grass

facing right wall. Lisa in chair. Freeze frame. Hold...

I move off grass Em sits down on chair in lounge position, hold for 1 minute.....

I walk, fix and cut grass beneath Emily’s feet, (‘I shall sleep at your feet as if I were a

bitch...’) I move in space when I look up at

you. I turn and hold and I move then. Cue to shave your head 1 minute Then stop shaving head, hold position..... I walk behind chair and say text, when I say words…

‘Oh Yeats your country, your No to Lisbon… cue_

spilling out the blood, the blood, of his own soldiers wounds’

Then assistant closes the door.( I turn on loud (Kim Gordon) music for 1 minute).

(performance extract for my postgraduate year 1 show, Camera Obscura, that took place at The Lighthouse Cinema on the 26th of March 09)

I have worked with many individuals

and community groups, my practice and

performances merges with and from this. My work is about the unrest,

the continuum, the sensory, the

interruption....what I have termed ‘fictional panic’.

My practice has included performance, writing, video and community arts.

As part of my research I have become

interested in Jean Fisher’s theories on ‘No

places’, Sue De Beer’s ideas on the Gothic, Jean Luc Nancy’s discussion on ‘The inoperative community’, Suzanne Lacy’s work in the interest of the public and Kobena Mercer’s views on feminism. Thank you to: Friends and Family,

Then Em’s words + Lisa’s ‘out of the black can

The Sculpture Department NCAD and

their mud bodies rose out of the echo.’… etc.

National Gallery of Ireland.

At end I repeat the word Love love and and

and… (after u say it, in a different colder way). Hold position for 1 minute…

«« ‘Brunt’

087 754 5872


Colin Martin Colin Martin’s research project concerns the relationship between Cinema and

Space. It references both Pre-narrative Cinema and Structaralist Filmaking. Martin uses the formal devices of

cinema to explore locations to create non narrative films. These cast the locations themselves as central characters. Many of the locations used in these films are

bounded, idealised spaces that serve to

accommodate things that may not exist

together naturally (Museums, Gardens, Film Studios) and that exert a sense of control and order over their subjects.

This is formally echoed in the manner in

which the camera relates to these spaces.

«« ‘Cyclorama’, HD Video, 2010, Cinetopias


Eileen Mills For some time, I have been interested in what happens when the body and language collide. It has led to the

current research and work concerning

the interpretation of truth and lies, in relation to gesture and language. But this work does not attempt to

establish a position in terms of the ‘truth’ of truth and lies, rather what they might mean on a human scale. Despite its

complex nature, it was only by creating a series of small, intimate gestures,

tellings and spaces that I felt I could carry out this work.

To me, self-preservation is the most

urgent and honest reason to tell/not tell a truth or a lie. Sometimes it is easy to tell both. Mostly it is an effort to tell either.

«« ‘Truth Lies Body Substance’


Kohei Nakata My work deals with a notion of “image

The notions of colour are classified by an

image and an impression, which are

colour chart. People recognize colours by

of mobility�. I am interested in a mental transformed by a mentality.

I was born and raised in Japan. My

native language is Japanese. Therefore my system of thinking is based on my

native language. When I use English in accustomed situations and topics, my

mind automatically proceeds to thinking and speaking in English. But if I talk

about something, which is to describe

something for the first time or describing images that are complicated for me, my

native language comes first to mind, and

I have to translate my Japanese to English. Therefore the process of translation

of the state of my mind into English

while employing limited vocabulary is

essential. In this situation, I really feel

an image in my head is changed by this translation process.

My practice is concerned with an

ambiguity of colour and a process of layering.

established regular system such as the

such a system, therefore sometimes there are different perceptions in each viewer’s perception. Although we grasp an image by limits of established recognition

systems such as languages; when colour is uncertain or ambiguous, an image

of an impression we perceive becomes

flexible and variable. I create the colour by the layering process, which consists

of semitransparent colour. The action of layering the semitransparent colour on the picture is not only to paint over the

first picture, but is also to fade it away.

It means two elements in the one action. Therefore the meaning of the process is easily changeable by the intention

of an action. These are sufficient ways

for the representations of aims, which is bleaching images and colour, or

constructing them. However, the most efficient element is not to measure the

process in order to reach one point, but

to distill a part of the changeability from the process. The colour with the layering

process, which excels in showing the state of changeability, is suited to my idea.


Maria O’Brien My main interest in painting is the

Through studying recent representational

explore this through figures in landscape,

by painters from the Romantic period,

meeting of nature and culture and I

and other environments at leisure. I

collect photographs from on-line social

networking sites as a starting point for my work. I like the idea of the way the figure interacts with an environment with all

its accoutrements, accessories, trappings. I am also interested in the way people

present themselves in these situations. I want to disrupt notions about them

whilst immersing myself in this bizarre

world, making gestural paint marks into whimsical gestures.

The up-dating and photo-diaristic

behaviour never ends. All aspects of

interaction with the environment are collected and shared by people on the

social networking sites. Leisure is a public spectacle, but the visuals are not always

and figurative art and looking at work I adopted a freer approach to realism

subtly distorting images and playing

with tropes of semi-abstraction, creating an unsettling feeling in the structure of the painting. A looser approach to

realism and figuration allowed space

for more slippage between reality and

invention. This is important to express when representing images that come from social networking sites which,

like in any on-line community, it is very easy to assume fabricated identities or

to embellish less interesting ones. This offers me a chance as an artist to play with fiction as well as everyday life. Sponsored by North Tipperary Arts Office

easy to reconcile. I have been looking at ways of translating these images and ideas through the medium of paint.


Tom O’Dea “… to produce what is blind, expression, by way of reflection, that is, through form; not to rationalise the blind but

produce it aesthetically … to make things of which we do not know what they are.” Adorno

I approach each piece from a strong

position of tentative doubt given the

impossibility of the ideal and an unease

with its attempt. Though heavily informed by modernist and minimalist ideologies, albeit in an antipolemical stance, the

ambition of my work is to exist along the line between the quietly poetic and the

borderline pathetic. A singular approach is taken to each piece that usually sees

numerous failed iterations that inform the subsequent attempt. This struggle

takes on a logic of its own that more often than not sees no resemblance between the first attempt and the resultant

piece. I am thoroughly committed to the project of painting but with a humorous engagement with the slight sense of

belatedness that comes from engaging with painting’s imposing history.

«« ‘Della Pittura’


Molly O’Dwyer Interdisciplinary in nature, my practice

Pathos and the tragicomic implicate the

sculpture and installation. My research

level through the use of simple bodily

employs the use of mediums such as video, revolves around an interest in the human condition and its interaction with living space and everyday life, challenging the

behavioural codes by which we live. The boundary between public and private is examined through exploring these

concerns as an analogous parallel to the

physical and the psychological, the body

being our primary experience of the world from the corporeal to the mental.

In performing for the camera, everyday

objects and familiar landscapes act as both

viewer on a psychological and emotional gestures with elements of order and chaos through absurd actions performed for

the camera. Aspects of popular culture

and the cinematic are referenced in the

work through a merging and co-existence of fiction and reality. My practice draws interests from film theory and the role

of media in society asserting the use of

the video camera as core medium for the exploration of the issues in the work.

material and prop for the exploration of

this terrain that exists between these two inseparable forms of reality, as central to

our perception of the world both internally and externally.

«« ‘Sitting on the Roof ’, digital video still


Sean O’Dwyer I am researching Inspiration, The Divine Breath.

I am responding to a mystery. This is

the best language I can use to describe that response.

This language is formed by an awareness

of nature in the landscape as a conduit for this mystery.

In offering a view from my particular

vantage point. I can only describe what I

see. What I see is the landscape as a source of romantic and sublime inspiration.

This inspiration is ineffable but that

does not mean one should not attempt to

I portray an allegory where the artist and the viewer are portrayed as a labourer

awaiting the arrival of The Muse. They

meet and from there they travel through many scenes where we begin to see the world through Her eyes. In time the

labourer begins to ask the question “Is She my Idea or am I Hers?”

The work itself is in the form of large

and small objects. I use primarily, resin, bronze, glass, wood, mixed media,

readymades, photography and film.

describe it to the viewer. As the root of

the word suggests it may be perceived as a “Divine Breath” sourced outside of the

artist’s personality that breathes life into the work. It is the “Aether” that inhabits the work. Though it may be invited, it cannot be controlled; it is the event of becoming. It is a way of being.

When we are inspired, thankfully, we do not rely upon ourselves alone.

«« ‘Waiting For Her’


Tony Kenny Studies for Ogygia My research asks the question: Does a

fundamental disintegration of narrative

unity occur with the advent and ubiquity of nonlinear digital media?

By tracing the development and mutation of narrative structure from the Greek oral tradition through the medium of the

printed word and into contemporary media, my work examines how these structures are transformed into mediate states.

I am interested in engaging our peculiar, recently developed ability to read

simultaneously from multiple screens and also in challenging the viewer to decode

visual information at several concurrent, parallel levels.

The work invites the viewer to consider

The outcome of the research is a series of screen-based fragments rooted in a

mythical linear narrative tradition but articulated with contemporary nonlinear means.

These fragments exist as a series of

discreet investigations into the possible forms that narrative might take after a paratactic disintegration.

The studies seek not to distract or

convince but simply to engage the viewer at a temporal level which may allow the fragments to exude rather than overtly

portray the underlying archaic narrative. +353 (0)86 852 0607

our ambiguous relationship with the

coded world of media representation. It

also attempts to address the implications for narrative form once the instruments used to convey that form have become disjointed and fractured in this way.

«« ‘Studies for Ogygia’


Aishling Muller Over the course of the masters I have

been focusing on the impacts that the

recession has had and is still having on the people in the midlands specifically in the Mullingar area. Dramatic

changes have taken place within the

locality over the last two years: over 52

businesses have shut their doors, some

of which were longstanding within the

community. Galleries have closed down. Unemployment is constantly rising and there are housing estates which either remain largely empty or unfinished.

However, these problems are far from

unique to the community of Mullingar.

By focusing on one town the project can be seen as a case study, which directly reflects and references back to the

physical and political landscape of the

current economic downturn nationwide.


Laragh Pittman The Frances D’Aran Collection Seeking to understand something of the human instinct for expedition, I have been looking at the paradox of

exploration, on one hand the positive

energy to find, learn and discover and

its inverse the exploitation, the power to spoil, waste and pollute.

This artwork is concerned with both an Irish and an African journey. It is both

the historical journey of an Irish ancestor, Thomas Heazle Parke, the medical

doctor on Stanley’s ‘Emin Pasha Relief

Expedition,’ transversing central Africa

in the late 19th century, and the imagined journey across Ireland of my great, great grandmother Frances D’Aran.

Taking the ‘Explorer’ as a model for her action, I have appropriated the

language and processes undertaken by

this scientist. Collecting documenting,

naming and displaying specimens from the everyday, she is journeying in the

For the last year Frances has been

making her way slowly across the island of Ireland. Using sound, video and

photography as recording tools, she

has been building an archive. Her Flora collection is already well established,

many specimens contributed by friends

and colleagues, new discoveries arriving through email on a regular basis. The Fauna Collection is still at an

early stage of development. Drawing,

constructing and sewing, she has stitched together fragments and ephemera to be

reformed and recycled, to gain a second

life. She has been making a map, trying

to make sense of the voyage and describe its complex topography.

here and now. Creating blogs and twitter diaries, Frances has gained a life after death in the digital age.

«« ‘Flors dentae luminus (Tooth Fairy Wheel)’


Ciara Scanlan Soap Opera of the Everyday In my Art practice I am interested in

the ever-present force of the media and it’s ability to both unify and segregate society. I work primarily through the medium of Video, performance, web based interventions.

I am a mass consumer. I am a target

audience 25-35 female who enjoys the

latest fad, the latest trend, the celebrity

gossip, the most eye catching commercial, the latest Facebook/twitter update. I am

guilty of sitting comfortably in the apathy and controlled environment of all the

above. However I feel my role as an artist is to step outside what society and the media want me to consume and react to. I have

made the conscious decision to upset the

status quo of the everyday, of my everyday,

The current extension of this is a Soap

Opera, personally delivered to a target area. Soap opera fascinates me for its

unifying force within society. It offers a sense of mass community, we can

all relate and gossip about a fictional but stable community of people and

characters, however we may not know who lives next door to us or anything about their lives. The receivers of the

product (the soap) do not necessarily have

to respond. Sometimes imagining a story is more exciting than revealing it. Phone: +353 87 969 9945

of your everyday.

I have developed a facade company ‘The

Product Service Company’. I market myself

as an instigator, a catalyst within a street/ area and immerse myself secretly within each place offering regular and random deliveries of letters and video specially created for that area. I work under a business model for each project the

‘Product Service Company’ will transform.

«« ‘Soap Opera Of The Everyday’


Cormac Browne Aground was a site-specific project

The peculiarly sombre carnivalesque

of the North Strand and East Wall

to embody certain tensions between the

which was conducted around the area in Dublin’s North Inner City. After a

period of research into the historical

and contemporary realities of the area of reclaimed land, the project was

presented in two parts. Firstly, as a video installation in a disused warehouse in Dublin 7, as part of the MFA/MA

interim exhibition; and, secondly, as a

performance, as part of the Gatekeeper Project, around the site of the North

Strand Bombing Memorial Gardens on the North Strand Road, Dublin 1.

This project continued my exploration

figure of the adopted character, attempted distinct communities within the area.

The character’s seabird-like appearance simultaneously stood for being in-

between two habitats, and for the role of aggressor and defender, as viewed from whichever side of the community.

The work was also intended to question the role of the artist as peripheral

opportunist or scavenger, who may be perceived as apart, but is necessarily implicated in contemporary society.

into the ways we receive and proliferate

information through knowledge systems. This explorative practice seeks to play

with the possibility of creating ruptures in normative systems of values, using humour darkly.

«« ‘Aground’


Ciara McMahon My research based art practice has

With these facts in mind, I am working

and work both as a GP (medical) and a

Heart and Lung Transplant Association

developed in response to previous training psychodynamic psychotherapist. Working

and practising as a GP is a very odd, almost liminal, position. It can be construed as an experience of embeddedness within, and concurrent remove from, a given

community. The practitioner is party to the most deeply personal confidences.

This sharing creates a clear awareness, and for me an increasing critique,

of the wider difficulties inherent in contemporary society.

Arising from this, my art work

persistently engages with questioning societal norms relating to the self and Other. I draw on psychoanalytical theories of subjectivity but am,

increasingly influenced by philosophical paradigms in conceptualising, and

contextualising ontological questions arising within or from the work.

collaboratively with members of Irish

to make an art work. This work, given the form of my art practice to date is likely to employ some or all of the media of HDV/ digital photography/audio recordings

with or without some form of an ‘event’. The transplant community is disparate,

with its own etiquette, use of significant language (relating to donation, donor families) and a charged relationship

with the medical staff of the transplant team based at the Mater Hospital. All

the members have been on a long and

difficult road leading to transplantation,

and are continuing to manage the effects of transplantation. The combination of all these factors potentially provide the

building blocks for a charged, layered and difficult collaborative work.

At present I am researching the

psychological, physical and sociopolitical experiences of heart transplantation.

September 2010 is the 25th anniversary

of the first heart transplant in Ireland,

and in August the European Transplant & Dialysis Games will be held in Dublin.

«« ‘600 tapes’


Clare Barman Beyond the Screen: The influence

my research will explore how cinema

1929 – 1946

the urbanscape of Dublin.

of Cinema on Irish Material Culture

The ‘Golden Age of Cinema’ developed

from technological advancements in both

impacted on Irish material culture and

colour and sound production in 1929 which led to the emergence of the ‘talkies’. Its

popularity grew steadily, recording the

highest ever cinema attendance in Ireland in 1946. The impact of film goes way

beyond spectatorship and the experience

of watching a film itself, and during this

time, film existed as part of a Cine-Variety experience which integrated local and

foreign newsreels, local interest shorts and advertising alongside Hollywood

imports. Perhaps more than any other, the film industry has been widely associated with spreading American values, ideas,

and products. Hollywood film displayed a world of architecture, interiors, fashion and glamour to Irish audiences and

enabled the subjective import of culturally foreign images as objects by design.

The extent to which the local and global

integrated through cinema and its impact on Irish values, attitudes and styles can be observed in the commodity culture

that emerged. Using a variety of primary sources ranging from contemporary

magazines and photography to ephemera such as posters and cigarette cards,


Mairead Enright The Marino Housing Scheme Design and Construction of Affordable Working Class Housing by Dublin Corporation 1910-1930 In 1914, the year T. Fisher Unwin was

invited to compile a report by the Local Government Board for Ireland on the

housing conditions of the working classes in the city of Dublin, at least 45 per cent of the working class population lived in

tenement houses which were completely

overcrowded, ill-equipped, and in varying states of decay. (Report of Housing Conditions 1914 cd.7273)

In the early part of the twentieth

century, and later in the newly formed Free State, Dublin Corporation began

to address Dublin’s housing crisis with

large-scale suburbanisation. This led to

the construction of estates of affordable working class houses in areas such as

Crumlin, Cabra, Drumcondra and Marino.

The Marino Housing Scheme, built in

the late 1920s, was seen as an exceptional example and a model for working class housing and planning in Ireland. It

was modelled on the Garden City ideal of rationally planned communities

surrounded by greenbelts and built on

a rational grid with efficient transport links to the central city and other

suburbs, put forward by Ebenezer Howard in To-morrow: A Peaceful Path to Real Reform in 1898, later reissued as Garden Cities of

To-morrow. Marino was the first of its kind in Ireland and the first Garden City to be

completed by a local authority in Ireland and the UK.

My research will be based on the Marino Housing Scheme and along with

considering the need for such a scheme, I

will be considering its design, construction and reception upon completion.


Aifric Iremonger-Mooney P. J. Bourke’s: selling theatrical costume in Dublin, 1930 – 1960

The main purpose of my research is to

evaluate the theatre costume industry in Dublin between the 1930s and the 1960s. The central focus will be P. J. Bourke’s Theatrical Costumier. Bourke’s was a

well established, family run theatrical

and fancy dress hire shop that supplied

costumes for theatrical productions (both professional and amateur) to masquerade

balls. It was established in 1906 in a small premise on Dominick Street and closed its doors for the final time on Dame Street, Dublin 2 in 1995.

Through undertaking this research I

hope to create an accurate account of the levels of production and consumption

and their fluctuations in the time period chosen according to social, economic

and political factors. In the initial years of Bourke’s the costumes were mainly

levels of touring companies from the continent during WWII. This rise in

activity is concurrent with the expansion of Bourke’s to include supplementary

services and seems on the surface to have been a lucrative time for the business.

Further examination of this will lead to a more accurate account of the success of the family run enterprises. At this

time, Bourke’s expanded their range of

costumes to include morning and evening

dress and it would be of interest to analyse the costumes themselves as commodities through their individual design,

production and finally consumption. I hope that through this research I will

gain a unique insight into the businesses that supported Irish theatre and the role of the costume hire shop in a broader societal context.

sourced and imported from London,

namely B.Burnett & Co. Ltd. of Garrick Street. I intend to ascertain whether

these costumes influenced the design

and styles produced by Bourke’s in later

years and also to what level this influence reached. Between the years 1936 and

1945 activity within Irish theatre began to increase. This was due to the falling


Noreen McGuire Inconspicuous Production –

the tastes and behaviours of the upper

of the Regency Period

lower classes, Bourdieu’s ‘trickle up’ or

domestic shoemaking by ladies

In most accounts of the history of

shoemaking there is little or no mention of shoemaking as a hobby during the Regency period. I will aim to address this oversight in the history of both

shoemaking and women’s handicraft by

systematically studying the small scale, home production of shoes by upper class women in the late eighteenth and early

classes are emulated by the aspirational ‘trickle round’ effect provides a broader field of enquiry in which to situate

elite shoemaking. By appropriating

the behaviours of the working classes, the upper classes could attempt to

outmanoeuvre the aspirational efforts of the middle classes.

nineteenth century. I will examine how

a number of factors – changes in fashion and society; the increased demand for unpaid female labour in pre-factory

shoe production; a backlash against the overt display of ladies decorative work; and existing expectations of dutiful

feminine behaviour – coincided to bring about the home production of shoes by elite women for themselves and their family members. In so doing I will

address the apparent contradiction of

upper class women reinforcing their class distinction by engaging in a watered

down version of one of the lowest status

trades of their time. The work of theorists such as Veblen, Bourdieu, Simmel and others, could provide an explanation for this phenomenon. In contrast to

Veblen’s ‘trickle down’ effect, where

«« ‘Coblers of fashion or modish pastime for 1813.’ © Trustees of the British Museum. Department of Prints and Drawings, Registration number 1868,0808.7081


David Paul Purcell Irish Pocket Watches in the nineteenth-century

Irish Pocket Watches produced in the

nineteenth-century will be examined and compared to their counterparts in Europe and America. Other areas that will be

examined are the industrial revolution

Theorist such as Miller, Bourdieu, and Simmel will be used in relation to the

theoretical context of this paper. Through these theorists, I will examine the pocket

watch, and what was the material culture significance of these objects, i.e. class identity, sentimental value.

and the coming of the railway to see

There has been very little research carried

examining how the production of watches

in Ireland. The design and production of

how these areas are interconnected thus had such an increase at this period.

At the first presentation of Clocks and Watches given in the RDS this March 2010, Mr. Boles put forward the idea

out in relation to Irish Pocket Watches

these pocket watches will be addressed as well as their consumption.

that Irish watches and clocks were of a much superior quality than their

counterparts in Britain. This statement needs to be examined further to see if

such a declaration is true. Other reasons that may lead to Mr. Boles statement are the rarity or the craftsmanship of the Irish watches.

ÂŤÂŤ Pocketwatches


Lorraine Smith Coffee houses in Eighteenth Century Dublin

Much has been written regarding the

cultural, social and political developments of eighteenth-century Dublin. However,

the city’s coffee houses and their bearing upon these developments have in the

main been largely brushed over. More often than not, the relevance of these

establishments and their influence in

determining and shaping public opinion has only been examined in relation to

other topics. In essence they were a ‘third place’ between the private sphere of

home and the place of work, where news, gossip and information could be openly exchanged and discussed. The most

renowned coffee houses during the period were Dick’s on Skinner Row, and Lucas’s

My research will focus on the role these

coffee houses played in the development of Ireland’s cultural Enlightenment and their contribution in creating a public sphere where all could freely enter

into public discourse and contribute as equals in open debate. To this end the

ideas expressed by eighteenth-century

philosophers such as Kant in Germany,

Voltaire and Diderot in France and Locke

and Hume in Britain will be analysed. In an effort to achieve an understanding as to the legacy of the Enlightenment and

its overall impact on modern day society, the writings of Theodore Adorno, Max

Horkheimer and Jürgen Habermas will be addressed and analysed.

on Cork Hill. The former, was established by the bookseller and newspaper

proprietor Richard Pue and catered in

the main, for the city’s merchant and

professional class. Lucas’s, on the other

hand, was the haunt of city’s fashionable elite, and was the place to be seen.

Nonetheless, these are only two, of the

many coffee houses scattered throughout the city, which provided a forum for

public discourse and created what the

German philosopher and Historian Jürgen Habermas called the ‘public sphere’.


Penelope Whorrod Robinson & Cleaver: the making of a Belfast landmark

In 1888 Edward Robinson and John Cleaver opened their Royal Irish Linen Warehouse on the corner of Donegall Place and

Donegall Square North. Their new store with six floors, distinctive ogee domes and towers, decorative carvings and

rooftop balustrades dominated the Belfast skyline. Robinson & Cleaver Ltd. ceased trading in the 1980s but the building

remains, subdivided and re-let, a Belfast landmark. However, at its apotheosis

Robinson & Cleaver Ltd. had not only its grand ‘House’ in Belfast but stores in

Liverpool and London in Regent Street and Cheapside. The company both advertised and dispatched its goods all over the British Empire.

The primary objective of my thesis is to establish the extent to which this

department store reflected, articulated, influenced and was influenced by the

changing nature of Belfast. To realise this, my research will consider the

history of Robinson & Cleaver Ltd. in the

context of the economic and retail history of nineteenth-century Belfast. It will

examine the construction of the store’s

identity through its use of architecture, interior design, choice of location in

the city and the goods and services it

provided. Cognisant of Miller’s1 (1981, p.3) thesis that the department store was,

‘…a world where bourgeois culture itself was on display.’ my research will also

explore the burgeoning Victorian and

Edwardian middle-class of Belfast and its environs, its consumption practices and engagement with material culture.

1 Miller, M.B (1981) The Bon Marché Bourgeois Culture and the Department Store 1869 – 1920. London Boston Sydney: George Allen & Unwin


Eimir O’Brien Manufacturing the Tools of

Devotion: a study of Earley and

Powell’s ecclesiastical furnishings

for St Patrick’s Church, Monkstown, Co. Dublin

During the second half of the nineteenth century an increasing number of

religious goods were imported into

Ireland from Europe. There was a large

market for these items which were used to act out the increasingly practised religious rituals which helped to

consolidate the authority of the Catholic Church in Ireland at this time.

Focusing on pieces made by artisan

ecclesiastical furnishings company,

Earley and Powell for St Patricks Church, Monkstown, this MA thesis examines the production and consumption of

devotional objects in mid nineteenth-

century Ireland. The work produced by

Earley and Powell’s will be contextualised within a historical framework that references both liturgical law and material culture.

«« Monkstown Church


Saive O’Donoghue ‘Dublin’s Great White Way’: The Design

the universality and minimalism of

Lighting, 1890-1940

addressed public lighting in the twentieth

and Material Culture of Electric Street

Tracing the design of electric street

lighting in Dublin from the standards

concurrent with the establishment of the first Dublin electricity station in the late

nineteenth century, until the installation of the first modernist lamps by the ESB

in 1939, my research seeks to explore the

modernism. Whilst few historians have

century, during which it was thoroughly established, I am critically evaluating

approaches to the subject which connect

street lighting to the establishment of the rational, liberal city.

material culture of street lighting in the city’s public realm as imposed by the

Dublin authorities. In its design, electric

lighting in Dublin utilised ornate cast iron standards in the Celtic Revival style, and

later minimal art deco concrete lampposts supporting glass lanterns. Examining

the forces that culminated in successive installations, my research explores the establishment of the Electric Lighting

Committee by Dublin Corporation, the competition between electricity and

gas in Dublin, and the moves towards a centralised operation in the absorption of suburban councils into the city, and with the establishment of the ESB.

By interrogating the utopian quest in

urban design, I seek to understand the

culture which had at its core a nationalist aesthetic and how this ideal changed

over the period to a desire for the removal of ornament and the promotion of

«« Street Lighting Standard, 1939 (Algar, F X (1938-39) ‘Two New Public Lighting Installations. Central Dublin City and Dublin-Dalkey Main Traffic Route’, Transactions of The Institution of Civil Engineers of Ireland, Volume 65, Plate 10.)


Michael Flannery Online continued professional

and responsibilities as LAR-Teacher. It

primary teachers’ perspectives on visual

teachers regarding their preferences in

development: Discourse analysis of arts appreciation at primary level

This year marks the tenth anniversary of the revised Irish primary school

visual arts curriculum. Despite its many perceived successes, recent research

identifies commonality among primary art and their selection criteria for LAR-

Content. It also explores cohesion among primary teachers regarding their LAR

emphases and perceived impediments to LAR-Teaching and LAR-Resourcing.

indicates visual arts appreciation in

By following a systematic coding

primary school teaching as intended in

constant comparison until reaching

particular has not translated as fully into curriculum aims. Similar findings have been identified internationally. From

2006 to 2009, two thousand two hundred Irish primary teachers completed online continued professional development in ‘looking and responding’. Their

resulting online discourse and shared knowledge construction has provided

data for ‘grounded’ theory generation for this study. This inquiry explores Irish

primary teachers’ perspectives regarding visual arts awareness, appreciation and appraisal at primary level (LAR).

Using grounded theoretical discourse

analysis, this research ascertains patterns among Irish primary teachers in relation to their visual arts classroom practice. It investigates shared thinking among

primary teachers from online discussion forum postings and reflective learning logs. It identifies shared perceptions

of the visual arts primary curriculum

with respect to LAR. It ascertains shared

paradigm of repeated sampling and

saturation, it extracts a number of key LAR ‘storylines’ affecting children’s

experiences of visual arts appreciation

in the primary classroom. From these, grounded theory has been generated

which explains the current state of play

regarding LAR and what needs to happen

so that children and their teachers engage with a more diverse range of visual arts at primary level.

As data was collected from computer mediated communications in a

virtual learning environment setting, this inquiry also documents the

research opportunities and challenges

encountered. This inquiry will be mainly of interest to those workings in field of

visual arts education or online continued professional development or researchers

undertaking research involving a virtual

learning community or grounded theory.

perceptions of their perceived roles


Hazel Stapleton Outline of study for PhD High-stake state examinations such as

the Leaving Certificate have long been of interest to the public, generating both

comment and debate. As with all other

Leaving Certificate subjects, the results

from Art can have important differential outcomes for candidates and are used in the competitive milieu for educational opportunity and life chances.

The testing of Art in the Leaving

Certificate Examination follows the same principles and processes that underpin the examining of all other subjects.

Therefore, it is critical to have a system

in place that provides a valid and reliable measuring model which supports inter-

candidate equity by being valid, reliable,

free from bias, transparent and inclusive.

My research, firstly through an extensive literature review, examines the nature of art education in schools settings in the light of theoretical stances.

The multitude of meanings that can be appropriated by visual artwork

makes the marking of examinations

in art a particular challenge. Leaving

Certificate Art falls under the definition

of a constructed response testing model, where diverse candidate solutions to a

particular brief are to be valued. However, such diversity brings many challenges,

especially in a high-stakes setting, where the reliability of examiner decisions is a fundamental quality assurance issue.

The main focus of my study investigates the area of consensus inter-rater

reliability in the examining of specific practical components in Leaving

Certificate Art. The data were collected during the training of examiners in

advance of the marking process of 2006. The questions addressed include the reliability of examiner decisions in

relation to specific exemplars and the cognitive processes used by a sample

of examiners in the application of the standard marking process.


Kevin Atherton Recent One-Person Exhibitions

television in your video work from the

Golden Thread Gallery, Belfast.

discussion within a debate about post-

Nov 2009 – Jan 2010 ‘In Two Minds x 3’, Recent Group Exhibitions (2009)

1970s and 80s. I would like to frame this modernism, both as it might have appeared

The Studio Dialogues, San Francisco Museum

to you then, and also as it appears to

Something Else, Rothe House, Kilkenny

far reaching, in that it would be good if

Rewind at Stills, Stills Gallery, Edinburgh,

artist’s work as well as to specific works of

of Modern Art, USA. Festival, Ireland. Scotland.

Recent Group Exhibitions (2010)

Changing Channels - Art and Television, Museum

of Modern Art, Vienna, March – June 2010. Masquerade (With Sarah Pierce), Van

Abbemuseum, Eindhoven, March 2010. Glasgow International Festival of Visual Art, Street Level Gallery, Glasgow, 2010.

Review and Play, Tate Britain, May–June 2010. Recent Commissions

2009, Another Sphere, stainless steel and CCTV, Ballymun.

Research Statement

For my PhD I continue to examine the

self-reflexive nature of my own practice

through, and in relation to, self-conscious literature including writers such as Flann O’Brien, Luigi Pirandello, and Samuel

Beckett. In the video chapter for example I use the interview format in order to interrogate my work and myself:

KA: Kevin, the central point to this

interview will be to explore the evolving relationship between video art and

you now. The interview can afford to be we could make reference to other video

your own such as Television Interview. This piece is perhaps the most significant in

the debate about video art and television that surrounds your work. In your own description Television Interview is ‘A two-

monitor work which is literally an interview of television by video’. Made for the British

Art Show in 1984 and featuring one complete episode of Coronation Street on one monitor, and you on the other, interviewing (or

seeming to interview through editing the sound) the cast of Britain’s most popular and longest running soap. In this work, for example, you ask the character Rita

Fairclough whether artists should make video art for television or for the gallery. KA: And Rita answers ‘both’. KA: Earlier than the Coronation Street piece

in 1976 you had begun interviewing yourself on video in ‘In Two Minds’. The interview

format would therefore seem to me to be a

good way to talk about your video works in

general, up to, and beyond your interview of ‘Coronation Street’ in ‘Television Interview’.

«« ‘In Two Minds – Past Version’ (1978-2006), Installation view, San Francisco Museum of Modern Art, 2009.


Brendan Earley 9 Reports, 2009 In light of the introduction of a certain universalism as produced by our

Global environment, it seems to be

no accident that a new generation of

artists is dealing increasingly with the promises of modernity in relation to

the history of modernism. In the last number of years commentators have

begun to speak of ‘many modernities’ there by reconsidering the definition

of modernity as a model of production. In a recent project, 9 Reports, I want to

develop a narrative hybrid that would

Caught between contemporary tensions in our environment with the here and

now, along with a disenchanted attitude towards promises of the future, I sense a

new possibility in alternative readings of

history. This would include the editing of

existing cultural material such as Science Fiction, so by asking Brian to narrate the

text I want to open up a new direction one which, as Fredric Jameson recently put it,

‘could transform the present into the past of something yet to come’.

seek to establish an alternative history

of our recent past, one which is based on a foundation of new possibilities rather then the ruins of postmodern critique.

The work is based on a short story by JG

Ballard – an astronaut finds himself on an abandoned space station, marooned

a in place which is full of strange special kinks and alternating presents. The

story takes the shape of reports sent back to base in which the traveller describes his explorations. Narrated by Brian

O’Doherty, artist and author of Inside the White Cube (1974), this mode of telling

history favours “as if…” over “there was…”

and strives to animate different versions of our shared history.

«« ‘9 Reports’


Silvia Loeffler Mapping the Blind Spots My research is based on an investigation of visual blind spots, the public and the city, with specific reference to Dublin.

Blind spots can be understood as visual products, such as graffiti and stencils

that appear insignificant at first sight,

but are nevertheless enmeshed in social

and political values and reflect notions of

belonging and identity. In elaborating the

manifestation of disappeared writings and

pictures that had no defined purpose during their ‘lifetime’ on city walls or pavements in memory, the role of the memorial or

monument in relation to these ephemeral

blind spots is reconsidered. It emerges that

these visio-cultural manifestations in their relationship to urban space revolve around cyclical processes of building (creating), destroying, removing and naming. In

reference to Adorno, who argued that it is

necessary to look at the ‘waste products’ and ‘blind spots’ of any history, in order to give an adequate picture of human behaviour,

the central argument is based on the claim

that the investigation of visual blind spots, which are often ignored because of their

seemingly banal contents and unassuming nature, gives an account of urban

living that leads to a greater emotional

understanding of space and its dwellers.

«« Canal Road Portobello, January 2010

In order to explore these visual fragments of the modern city, and in the attempt to create a metaphorical urban directory, blind spots or visual waste products,

which are present in public only for a

fleeting time before being wiped out, painted over or otherwise removed,

are monumentalised and put onto an emotional city map. The emphasis of

this work lies on a qualitative research

model that is presented in the form of a

visio-textual bricolage. With an array of mixed theoretical paradigms that have

their origins in critical urban and literary theory, psycho-analysis, cultural studies and anthropology, resurfacing visual

waste products spotted in public space are integrated with notions of journey, city

and philosophical thought, criss-crossing the boundaries of social study, cultural geography and visual culture. Such a

multidisciplinary model provides a tool

to use visual waste products as valuable sources of information about human fragments inscribed into the city’s

surface, and it reveals glimpses of what

Giuliana Bruno terms ‘public intimacy’, a concept that opposes the aesthetics of

over-designed, manicured urban space.


Staff Research


Patsey Bodkin Framework for the Continuing

To date a Focus Group of Art teachers

Primary Art Teachers.

Professional Development (CPD) needs

Professional Development of Post-

My research is in the area of Continuing Professional Development for Second Level Teachers of Visual Art in the Dublin region.

I believe through personal experience

that Art teachers need to be supported

throughout the various stages of their

teaching careers. They need to be made aware of innovations in their area of expertise, new methodologies and

technologies and changes in curriculum or subject content and they need to be given opportunities in a structured

and supportive way to develop skills, knowledge and understanding that

relates directly to their practice. Art

teachers need to be given the chance to

apply what they have learned, evaluate the effect on their practice and develop their practice. My vision is to develop a comprehensive framework for the

design, implementation and evaluation

of Continuing Professional Development

for 2nd Level teachers of Visual Art using Action Research.

has met and discussed the Continuing of Art teachers and how these needs might be met. Research interviews

were conducted with various education partners to ascertain their views

on CPD for Art teachers: Directors,

Administrators and CPD Coordinators of Education Centres, representatives

from the Teaching Council of Ireland, Second Level Support Service, Arts

Council, National Centre for Technology in Education and the Crafts Council of Ireland amongst others.

The CPD programme has been developed and will be fully implemented by the

end of the 2009/10 academic year. The CPD programme will be evaluated

using an online evaluation survey.

The data collected will be analyzed,

recommendations will be made and the results will be presented in the form of a doctoral thesis for the Professional

Doctorate Programme in Education, in Dublin City University. 01 636 4308


Oliver Comerford Recent Research Activities

In February 2010, Oliver Comerford was

In March – May 2010, a mid-career

Prize, for his Painting True Romance V from

retrospective, Oliver Comerford Painting 1994 – 2010 was presented in the RHA Gallagher Gallery, Dublin.

The exhibition surveyed over 30 paintings from his career, and was curated by

Patrick T Murphy. Comerford’s work has contributed significantly to the

shortlisted for the Sovereign European Art

his solo exhibition True Romance which was held at Kevin Kavanagh Gallery Dublin, November 2009.

The Sovereign European Art Prize Exhibition will be held at the Barbican Gallery, London, opening June 2010.

interpretation of contemporary landscape

Oliver Comerford’s painting, Out Here III

presents a distinctive psychological space,

exhibition What Happens Next is A Secret at

in Ireland. A representational painter, he often seen through the transient lens

of a car window in motion. His images include outposts, remote or distant

locations, coniferous woodlands and

views from the edge of town. Comerford’s images are at once perfectly recognizable as the world we inhabit, and at the same time charged with subtext.

The exhibition was accompanied by a 144 page publication, with essays by Fintan O’Toole, of the Irish Times, and Declan

Long, NCAD, and a Conversation between Oliver Comerford and Patrick T Murphy.

There was a special boxed limited edition of the book available including a signed artists Monotype.

«« ‘True Romance II’, Oil on canvas over board, 122 x 183cm

(Collection IMMA), was included in the

the Irish Museum of Modern Art, MarchApril 2010, accompanied by a Catalogue. Oliver Comerford’s I Can See Your House From

Here IV was included in the exhibition Terror and Sublime: Art in an Age of Anxiety, at the

Crawford Gallery, Cork, to February 2010,

accompanied by a 128 page catalogue with

essays by Peter Murray and William Laffan. He is currently External Examiner in

Fine Art at GMIT, Galway. In April, he

presented a lecture, ‘Making Landscape’ at the School of Architecture, UCD. Oliver Comerford is a part-time lecturer, Core Studies


Andrew Folan From Dust exists as an animated virtual

The materialization of virtually

sculptures captured from this entity.

event, which inverts the conception of

entity and as a sequence of digital

The virtual entity was modelled with

digital media as a rigged and skinned 3D animation. This poseable entity

was derived from the conflation of a topological construct (Klein Bottle) and a generic plant-like structure. The intention was to generate an

evolving flower form which would defy

conventions of materiality and be made

to grow elastically within the weightless and frictionless virtual computer space. Ultimately the bridge between virtual reality and actuality is put in place through the use of laser sintering,

which systematically bonds powdered material into a solid. This is achieved through a precise application of heat

which causes the particles to bond in a

coherent rendering of the entity. The laser

generated entities is a paradigmatic

actuality into the actuality of conception. Intensivity becomes extensivity. This

is achieved through the amplification and harnessing of conscious thought. Intellectual constructs are directed

– through technological mediation – into a generative process. This fluid expression of concept as material is

further enabled with the evolution of

the digital entity, its animation and the

ability to map the developmental process. Both the progression and regression of

the entity become equally feasible. The

re-mapping of data into material closes the loop between the virtual and the

haptic. The gap between conception and manifestation is significantly reduced.

selectively bonds the digital data, layer by layer, within a powder matrix. Through

this process the unique form of the virtual entity may be realised as an actual object.

«« ‘From Dust’, 2009, digital animation / Laser sinter


Nuala Hunt In 2009, I have undertaken research in

Secondly, I contributed to section three

particular reference to the needs of part-

Network Report, “University Awards and

the area of learning and teaching with

time students and supports for academic staff. As Head of Continuing Education

I am concerned with the implications of

change within higher education in a post Bologna context and the impact on staff and students.

Firstly, I presented a paper and two

posters at the IUQB (Irish University

Quality Board) Conference on Striving to Enhance Student Experience in

November 2009. The paper focused on Higher Education in a post Bologna

context and the development of resources to support staff in writing learning

outcomes for modularised programmes.

Poster presentations (assisted by Feargal Fitzpatrick) were included, as a visual

back up to the paper, as well as a second

of the FIN-Framework Implementation

the National Framework of Qualification Issues around the Design of Programmes and the use and assessment of Learning Outcomes� which was published by the IUA and NQAI in 2009.

Lastly, I have developed resource material on module outcomes and programme development for NCAD staff and

completed the post-graduate Certificate in University Teaching and Learning, part

of this programme involved research into curriculum design, and problem based learning.

Nuala Hunt is Head of Continuing Education in Art and Design, BA, MA, MSc, PGCert.UTL

visual presentation on the development

of flexible progression routes for mature students at NCAD.


Michael Lyons Looking at ice-bergs and oil-rigs provided me with a duality of activity.

I began by making a series of 3D platforms in a variety of discarded low tech

materials, such as cardboard, wire, used copper etching plates, plastic, sticks

and twigs. This process provided space to reflect, as well as providing a solid

structure to reference in the paintings. The low-tech abandoned recycled

materials, I felt, were echoing the very

belatedness of painting. On these painting ‘platforms’ I am trying to develop a

personal visual vocabulary, imagining

narratives being worked out that would be open to interpretation by a viewer. I

Building a fictional world on a ‘platform’ of my making, trying to make it more

complex in terms of images and painting

language, hoping to generate thoughts and connections. I see painting as relevant, and know that painting must compete

with mass media, and with itself and its own history. I have come to understand

that painting is a reality of its own and to

succeed a painting is made with a sense of inner correspondence, that it is a physical

correlate to a tangible perception. I see this as a challenge, “to make visible that which resists visibility”…

am aware that contemporary reality is

sufficiently complex to sustain more than one style of image-making, that painting seeks to engage with an audience whose main source of information is the mass

media, and that whatever lofty aspirations I may entertain, aesthetic or otherwise, are always held in check by the banal realities of the human condition.

«« ‘Exploration and Extraction’


Susan MacWilliam Through anecdote, reconstruction and

Exhibitions since June 2009

forms of portraiture and interpretation.

Galway; Time Is A Sausage, Domobaal,

detailed editing my video works explore The works consider the world of the

paranormal, the tradition of psychical research, the supersensory and ideas

about perceptual phenomenon. Since 2005 I have worked closely with prominent

parapsychologists and psychical research

institutions including the Dermo Optical

Laboratory of Madame Yvonne Duplessis,

Paris and the Parapsychology Foundation, New York. In 2008 I researched the TG

Hamilton Spirit Photograph Collection, University of Manitoba Archives and

developed F-L-A-M-M-A-R-I-O-N a video work about the 1931 appearance of a

teleplasmic text at a Winnipeg séance.

Commissioned for my solo show Remote Viewing representing Northern Ireland

at the 2009 Venice Biennale F-L-A-M-M-

A-R-I-O-N features writer Ciaran Carson

and poltergeist investigator Dr William G

Roll, Some Ghosts 2009 a video portrait of Dr William G Roll premiered at David Roberts Arts Foundation, London in December

and was followed by a Skype conversation between myself in London and Dr Roll in

Atlanta, Georgia. In 2010 I recorded footage of the New York based artist and psychic Ingo Swann who worked on Remote Viewing experiments with the CIA.

Burren Annual, Burren College of Art,

London; Downstairs Review, Gimpel Fils,

London; F-L-A-M-M-A-R-I-O-N screening, Sara Meltzer, New York; A View From

Napoleon’s Nose, Kao Yuan Arts Centre,

Taiwan; Ireland Northern Ireland, Works from the Venice Biennale, NCAD Gallery and

Farmleigh House, Dublin; Not Necessarily

In That Order, Presentation House Gallery,

Vancouver; To Believe, La Mama La Galleria, New York; F-L-A-M-M-A-R-I-O-N, Golden Thread Gallery, Belfast. Forthcoming

exhibitions include Man&Eve, London;

Mapping Worlds, 8th Internationale Foto-

Trienniale, Villa Merkel, Esslingen and F-LA-M-M-A-R-I-O-N, aceart inc, Winnipeg. Public workshops and talks

Materialising Worlds – Make, Place and

Splice, Susan MacWilliam Master Class, Firestation Studios, Dublin; Keynote

Lecture, NCAD, Dublin; panel discussion participant, Jordan Baseman – Nature’s Great Experiment, Catalyst Arts, Belfast and

Bury St Edmunds Gallery as part of The

Wellcome Trust’s Identity Project; artist talk, Presentation House Gallery, Vancouver. Forthcoming talks, aceart inc and

University of Manitoba Archives and Special Collections, Winnipeg.

«« ‘Some Ghosts’, 2009, 38mins


Kirsty McGhie Definitions through Ceramics. I started this body of research with a series of questions. Can events,

conversations, activities, somehow

remain in a space or our bodies? What

kind of traces do they leave? And how do you capture or discuss the subtext and nuance of these interactions?

The process of how to depict what is latent

The ephemeral nature of these concepts,

lend themselves to being captured in the

multiple properties of clay. Its capacity to be skin like, translucent, and malleable and its ability to pick up and retain

detailed information like a memory bank are the qualities that draw me to express my ideas in this medium.

in conversations, unconscious states and

exchanges and how these affect our body, has led me to look at how information

is transmitted within organs, cells and neurons. In researching alternative

therapies and conventional medicine I have explored how emotional states

trigger chemical changes in our body, in turn affecting physical stimulation of

certain organs and possible ailments. Do our cells hold the collective unconscious? Is it in our mind or are there physical

changes that occur? It is the essence of

what is left behind, the knowledge and

exchange that I am trying to assimilate in my work.

«« ‘Conscious-Unconscious’ Definition Through Ceramics


Margaret O’Brien My work refers to a psychological in-

I live in the cracks in the walls, 2008

the private and public self, and the self

end of a long narrow corridor stretching

between space, one that exists between and others. This space directly relates to

our psychological wellbeing and is fragile and changeable in the extreme. I draw my inspiration from the

everyday, the familiar and the domestic environment. In recreating objects or

spaces that we encounter on a daily basis, I replace their normally functional or

benign fundamentals with an element of malfunction or mishap.

My practice is multidisciplinary and

involves site-specific installation with a

variety of materials and media including found objects, multiples, sculpture,

video, sound and light. The installations are minimal and carry an atmosphere of uneasy anticipation and subtle threat.

They allude to psychological conditions

that develop in response to this sense of threat: obsessive behavioural patterns, paranoia, a compulsion to control,

I constructed a room 8ft x 8ft x 7ft at the 50ft x 2.5ft x 7ft. This cell-like room is

papered with white ornately designed wallpaper. Using a myriad of fine

dressmaking pins, I mapped the design of the wallpaper by hand. The pins are positioned in very close proximity and

level with one another. They form dense and concentrated sculptural structures

of the design and occur in patches across

the walls. The walls hold a total of 20kg of

pins. The piece carries a beautiful aesthetic yet is harsh by nature of the material.

This piece is about the act of waiting, and the space we occupy in this act – physical, psychological, and emotional. Due to the relationship between material, process and scale, time implications weigh

heavily on the work and it carries an atmosphere of repressed silence.

isolation, alienation, agoraphobia, claustrophobia etc.

Using devices such as sporadic sound, live malfunction, scale, and the multiple, I wish to affect the psyche of the viewer

through an involuntary, sensory response to the work.

«« ‘I Live In The Cracks In The Walls’


Dr Paul O’Brien Recent Publications (Selected):

Recent Conference Papers (Selected):

Ars Electronica 2009, Circa No. 230,

Presented paper on Film, Games, Reality at

Winter 2009.

Be Here Then, Review of McDermott and

conference Re-imagining Computer Games in

University College Dublin, 12 Sept. 2009.

McGough, An Experience of Amusing Chemistry:

Presented paper at Moot VI: the Current

Modern Art, 6 February-27 April 2008.

Wednesday, 20 May 2009, Kilkenny

Photographs 1990-1890. Irish Museum of Irish Review No. 39, Winter 2008.

Climate: Art, Ecology and Sustainability, County Council Arts Office.

What is Authentic?, Visual Artists News

Presented paper on Digital Narrative at


Huston Film School, University College

Sheet, Issue 4, July-August 2008. faf_report2.pdf

Art, Politics, Environment, Circa No. 123,

Spring 2008.

New Media Art: An Irish Context, Circa No. 120, Summer 2007.

Embodied Time: Art Video, 1970 to the Present, Circa No. 120, Summer 2007.

Hibernian Evanescence: Globalisation, Identity

and the Virtual Shamrock, Postcolonial Text, Vol. 3, No. 3, 2007. Available: http://


symposium on the same theme in the Galway, 29-30 May 2008.

Presented paper on Art, Culture and Ecology at conference Cultural Studies Now at

University of East London, July 2007. Available:

culturalstudiesnow/journals.htm Presented paper on new media art in

Ireland at conference on Irish Studies in

University of Limerick, 22 – 24 June 2007. Presented paper Theorising Terrorism at

conference in UCD, 27 February 2007.


Eve Parnell I play with notions of boundaries and

Photograph from ‘A Passion for Freedom’

which at the same time obliges the viewer

Rathfarnham, Dublin, August –

scale to create an experience of surreality to be keenly conscious of his or her own presence in the space.

In the deceptively simple installation

solo exhibition in the Pearse Museum, October 2009.

(pictured), the tall windows in this

classically proportioned room are dressed

with muslin draperies which flow beyond floor level and ripple out in large, fan-like

arcs creating a delicate yet definite barrier. The focus of the viewer in this otherwise

empty room is thus drawn to the window,

its light, and the airy views beyond, while simultaneously an awareness is created

that access to the window itself is being

denied. There is a taunting gesture about the billowing, gauze-like fabric which

causes us to pause at its edges and allows us to inhabit only a portion of the room. The distorted scale of the installation

works to create that sense of unease which we associate with the disproportions of

dreams and there is a fine tension between this and our awareness of ourselves in the

“gallery-like” space with all the attendant constraints. No sign is needed to deter us

walking across the fabric. And why is that?

«« ‘A Passion For Freedom’


Angela Woods 2009 “User-first” Design

allowed for this ‘niche’ market to be explored

Between Tutty’s Handmade Shoes,

Whilst there are many and various foot

and NCAD, Department of Fashion &

a bespoke footwear manufacturer with

Research project

Riverhouse, Millbrook, Naas, Co.Kildare Textiles.

Funded by the Enterprise Ireland Innovation Voucher scheme Staff Researchers

Principal researcher, Prof. Angela Woods, Head of Design Faculty

Associate researcher,Linda Byrne,lecturer in Fashion Design

CAD rendering, Patricia Hegarty (2009

Fashion and Textile department graduate) Summary of Project Activities

The Post Polio Support Group of Ireland identified the need for fashionable

women’s footwear for post-polio survivors. To this end, George Tutty of Tutty’s

Shoes in Naas, well known for their

bespoke footwear with an emphasis on

contemporary foot care, requested design research and input into the needs of the potential female post polio syndrome (PPS) customer.

Tutty’s extensive knowledge of custom

made shoes that combine traditional skills, exacting personal foot measurements,

orthopaedic needs and orthotic additions

within a ‘fashion aesthetic’ context.

problems associated with PPS that only

many years experience can identify and help to alleviate, the NCAD input in

“user-first” design terms, was to focus on ‘fashion looks’ within ‘functional’ footwear that could be adapted to a variety of bespoke shoes.

Individually designed footwear, catering for each potential customers specific needs, would be required in the long

term, however, the NCAD researchers would illustrate the diverse range of

‘fashion footwear’ possibilities, through a selection of trimmings and colour and material combinations, which could

ultimately be applied to a variety of shoe forms, best suited to the individual PPS customers requirements.

To get an insight into the needs of the

potential PPS customers needs, NCAD staff initially met with Eamonn Farrell CEO of

the Post Polio Support Group, followed by the first of the Tutty’s site visits.

Prof. Angela Woods attended the Spring

PPS AGM and met with a number of very ‘fashion aware’ women to discuss their ‘fashion footwear’ needs and desires.

«« Prof. Angela Woods, Linda Byrne, Bridget Quigley O’Brian and George Tutty at Tutty’s Handmade Shoes HQ & factory in Naas.


The staff researchers conducted a further

To assist Tutty’s (as the manufacturer)

Tutty at his factory, this time including

the ‘type’ of ‘fashion look’ they require,

site meeting in September ‘09 with George the valuable input of Ms. Bridget Quigley O’Brian, our PPS ‘target customer’ and the PPS ‘spokeswoman’.

This gave the NCAD staff researchers a

and their future customers, to define

a wide range of trimmings were sourced by Angela(available in Dublin or by

purchasing on-line from the UK) that added ‘design value’ and aid ‘design variety’.

clearer vision of what was required from

To illustrate the variety of footwear designs

customer as well as the manufacturer.

the NCAD researchers used Computer

both the perspective of the potential

Following a lengthy discussion on PPS

footwear needs, George Tutty identified

an eminently suitable yet contemporary

that can ultimately be developed by Tutty’s, Aided Design (CAD) to render adaptations

of the little ‘boot’ style, combining colours, textures and trimmings.

looking ‘boxing-boot’ style that could be

The CAD renderings are not necessarily

and sampled for Bridget. This boot style

for Tutty’s, but to be used by them as

re-interpreted by the NCAD researchers

would form the basis for the subsequent

design development to illustrate a variety of fashion ‘looks’ suitable for day, casual, formal and ‘occasion’ wear.

to be viewed as ‘definitive’ fashion styles design ‘examples’ when discussing and interpreting the most appropriate and

individual footwear styles, best suited to the customers needs.

Ultimately the application of ‘design’

It is anticipated that Tutty’s will use

footwear for individual customers, rests

potential new products on their website.

shape and detailing to a wide variety of

with the shoemaker in consultation with

the client (in relation to their specific foot problems) therefore it was not feasible at this stage for the NCAD researchers

to cover all varieties of shoe shapes and design trends.

However, by focusing on 2 ‘moods’...

Day / Casual and Formal / Occasion and by interpreting these ‘looks’ through

a wide range or variations of the little

‘boot’ style, both the manufacturer and the customer would be able to see the

potential for further design applications to other varieties of suitable footwear shapes appropriate to their needs.

these CAD rendered designs to illustrate

Prof. Angela Woods has also provided a

Tutty’s Hand-made Shoes ‘press release’ to promote this new iniative.

The Post Polio Support Group have recently used photos & images of the design ideas

and Bridget has written extensively about

this successful project in their Spring 2010 Post Polio Support Group magazine.

The NCAD researchers hope that the successful project outcomes confirm

and illustrate the variety of footwear

possibilities that exist for the ‘fashion

aware’ PPS customer and to ultimately give them comfort as well as beautiful

shoes that they shall delight in wearing.

«« Final fitting for shoes


Naomi Sex Research activities and PhD topic Naomi Sex is currently enrolled as a

Practice-based PhD scholar at NCAD/

Gradcam under the following research topic, ‘Does practice make practice?’ Analysing the value of ‘professional

practice’ as an apparatus of visual art

practice. This research is attempting to

determine the value of ‘professionalism’, in relation to art practice with a view

to unpack, re-evaluate and critique the current cycle of artistic production. Recent Solo Show, November 09

Recent Exhibitions February 2010

Selected for the interdisciplinary, multivenue, show ‘Invisible’ in conjunction with the Blackchurch Print Studio. April 2010

The second iteration of an ongoing curatorial research project, ‘The

Gatekeeper’, as a part of The Five Lamps Visual Arts Festival.

‘-Led’, artist/research-led solo initiative, at the off-site location of E.McManus & Co, Capel St, Dublin.

Recent Exhibitions, November 09

Selected to show at the International Guerilla Festival presentation at ‘thisisnotagateway’, London.

Recent Curatorial Projects, October 09 ‘The Gatekeeper Project’, conceived and curated by Naomi Sex. Site-specific

intervention based event located at the railings of Stephens Green, Dublin. Selected artists included, Cormac

Browne, John Graham, Sinead McCann, Margaret O’Brien.

«« ‘Does practice make practice?’


Projects & Events


CGM Department – Metals Area Project Knowledge Transfer Partnership with Newbridge Silverware

In 2005 the metals area established a five

year knowledge transfer partnership with Newbridge Silverware. The agreement

was based on a research exchange model whereby students could investigate the

company design and organisation policy whilst developing new product lines. Students were given the opportunity to work closely with engineers,

technicians, and company directors to form an integrated design team

focused on product development using

new technology. In exchange for NCAD

staff and student expertise, Newbridge Silverware provide invaluable funding which we invested in new equipment,

training, and design awards within the

metals area. In March 2010 we negotiated an extension to the existing KTP

agreement which will now run until 2015. The new agreement will focus primarily

on the development of improved agile and remote access computer aided design and

computer aided manufacturing research. We have also established a new annual

work placement internship programme where our best designers will work

directly with the company in Co. Kildare.

«« Sophie Dahl modelling Newbridge Silverware


CGM Department – Metals Area Project

«« Yasmin Le Bon modelling Newbridge Silverware


NIVAL / Design History Project Kilkenny Design Workshops:

The MA Design History students will


sessions in archival theory and practice

Photographic Image Management

Grant aided by the Heritage Council. In collaboration with the National Irish Visual Arts Library (NIVAL), students

on the MA Design History and Material Culture programme will be involved in

the joint Heritage Council/NCAD funded

Kilkenny Design Workshops Photographic

attend a series of specialist training

delivered by Eneclann, Archives and

Records Management Specialists. Guided by Donna Romano and Dr Una Walker of NIVAL the MA Design History students will put their newly learnt skills to

immediate use by assisting with the

arranging and cataloguing of part of the collection.

Image Management Project. This project aims to arrange, preserve and catalogue

the important collection of photographs and slides held within the Kilkenny

Design Workshops archive, held by NIVAL. The State-funded Kilkenny Design Workshops (KDW), established in

1963 by William H. Walsh, served as a

centre of excellence in design, proving

goods in prototype before going on to be manufactured by Irish industry. Until

their closure in 1988, the Kilkenny Design Workshops provided training for young

Irish designers, raised the profile of Irish design abroad and increased awareness of the importance of good design in

Irish industry and in everyday lives.

The collection of over 10,000 slides and photographs provides a valuable record

of the work of KDW and this cataloguing

project will facilitate greater accessibility to this important archive.

ÂŤÂŤ Photograph from the Kilkenny Design Workshops (KDW) archive, held by NIVAL. The image shows a coffee set from the Irish Lace range, designed by David Reeves at KDW for Carrigaline pottery in 1965.


Images and Identity Improving Citizenship Education Through Digital Art By Dervil Jordan Images and Identity is a two-year Art and Citizenship Education curriculum

development project based at the School of Education Roehampton University, London and funded under the EU Comenius Scheme.

This is a collaborative study involving six European partners including: The National College of Art and Design

Ireland, Charles University, Prague Czech Republic; Instituto Politecnico Viana do Castelo, Portugal; Justus Liebig-

University Giessen, Germany; and the University of Malta.

The link between art and citizenship education has not previously been explored in the European context

since the mid 1990s. However Citizenship or Civic Education was established as

a specific education aim very recently in many member states and there are

shortfalls in resources and teacher training (Kerr 2004). Art education provides

important opportunities to address

emotional and symbolic aspects of human experience, integrate verbal and non-

verbal form of expression and promote intercultural communication between

learners and teachers. But its potential

contribution to teaching citizenship has

not been explored in the European context. In this project art educators in Germany, England, Portugal, Czech Republic,

Malta and Ireland are collaborating with

Citizenship trainers on the production of training materials that aim to increase school children’s identification with

Europe through discussion and production of visual images. (Mason 2009)

and this is a new area of research and

In Ireland the research is being co-

the European Commission early this year

Faculty of Education at the National

curriculum development. In her report to Professor Rachel Mason from Roehampton University and lead coordinator of the

Images and Identity project underlines the point that:

‘Education for democratic citizenship

(EDC) has been a Council of Europe priority

ordinated by Dervil Jordan from the

College of Art and Design, supported by Professor Gary Granville who is leading

the Citizenship aspect of the project and

Tony Murphy who is delivering the Digital module to support the project with several groups of participants;

«« ‘Greetings from Europe’, 2009, John, The Life Centre Pearse St, Dublin


The Core Focus Group

The participating art teachers were: Aoife Keogh from The Life Centre Dublin; Siobhan Cassidy from Mercy College, Coolock; Elaine Brazil from Chanel

College, Coolock; Iseult Aiken Ashbbourne Community School, Co Meath; Susan Lynch, St Marys Secondary School, Castleblayney, Co Monaghan.

On a parallel strand, the National

College of Art and Design’s Faculty of

Education was also implementing the Image and Identity project within the teacher training provision of the Post Graduate Diploma in Art and Design

Education and within the Digital media component of the BA Degree in Art and

Design. Students from both courses have

engaged with the concept of National and European Identity themselves and have

developed material for use in both second level and primary schools. The third year BA in Art education group worked with

sixteen primary schools on a Image and Identity digital postcard project. This

curriculum project was led by Aoife Keogh a participating art teacher in the Image and Identity research project. The work from the primary school projects was

printed into large scale ‘postcards’ and

was exhibited in the college during the

Dublin Meeting of the European partners

of Images and Identity in September 2009.

Descriptive Summary

The action research for the Image and

Identity Project was conducted in four Irish secondary schools and in an inner city

educational unit. The original number of schools was six. Two teachers withdrew

for personal reasons and because of heavy work loads and an additional teacher

joined the project a little later. School

types varied considerably. The sample

included two large coeducational schools set in rural areas, two single sex schools (a boys’ and a girls’ school) serving a

disadvantaged urban area and a special education unit in the city centre for

students at risk. All the schools were

Catholic, the student population included newcomer/immigrant students with

Eastern European, Asian and African cultural backgrounds.

Planning the Action

The art teachers at the schools met the project co-ordinator and other team

members at the National College of Art

and Desgn (NCAD) monthly to plan the action, share experiences and discuss

progress. A Flickr site was set up for the teachers for communication purposes

inbetween meetings and to share images. The meetings incorporated training

sessions on action research method, digital technology and citizenship

intended to support the teachers in their action research in schools.

Learning Activities

Each school interpreted the project

learning outcomes for citizenship and art differently. After much discussion all the teachers all agreed to organise

classroom action around the themes of ‘Personal Identity’, ‘National Identity

and European Identity’, in this order. All the schemes of work drew on examples of contemporary art deposited in the

IandI image bank on Flickr to generate

Final Outcomes Specific objectives and benefits To produce online, innovative curriculum materials that integrate learning in Art and Citizenship. The classroom based

research, production and publication of a

visual data base, lesson plans and teacher guidelines that have been systematically developed and tested out.

discussion around issues pertaining to

To create a database of contemporary

countries. They all used oral discussion

communicate messages and meanings

identity and citizenship across European and collage to brainstorm ideas for

student artwork and in each school

students researched digital images on

the internet in class and at home. Some students also took photographs and/or developed ideas through drawing and painting. At two schools the students

investigated and compared cultural signs

and symbols through the medium of clay. In another they examined diversity and

identity through drawing, painting and

the design of a graphic poster. One school chose photomontage as the medium for the final student outcome. The other school used digital technology and Photoshop in the final outcome.

The five schools/centre developed and

carried out the following schemes of work: 1

Digital Postcards – ‘Greetings from Europe’


Signs and symbols of European Countries


Cultural Identity


Diversity and Difference


European Citizenship and Identity.

art / visual images that explore and

about individual and group identity. To produce strategies non-specialist

teachers can use for discussing images.

The final product will disseminate tried

and tested strategies of art teaching that enable school children to explore the

emotional and symbolic aspects of human experience and identity (through art making and appreciation)

To provide guidelines and resources teachers can use during classroom

discussion to strengthen school children’s identifications with the EU.

To train teachers and teaching assistants in digital imaging processes, platforms, and techniques.

Following Page: Kennedy Browne, ‘167’, 2009. 2 channel HD video projection, 7’38”



NCAD Postgraduate Yearbook 2010  

National College of Art & Design (Dublin) Postgraduate Yearbook 2010

Read more
Read more
Similar to
Popular now
Just for you