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, www.language.ie Print: Watermans Printers Edition of 1,250
«« Susan MacWilliam, ‘F-L-A-M-M-A-R-I-O-N’, 2009, Blu-ray, 17mins 13secs
Student Research 10
Students Completing 2010
MA – Design
Master Of Fine Art
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
124 Projects & Events
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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
Students Completing 2010 MA – Design
Master Of Fine Art
Samuel Russell Eleanor Swan
MSc – Medical Device Design Ronan Benson*
David Delahunty* Andrew Fan* Adam Foley*
Sylvia Hemmingway Gareth Jenkins
Lisa-Marie Johnson Colin Martin Eileen Mills
Maria Louise O’Brien Tom O’Dea
Marie Louise (Molly) O’Dwyer Sean O’Dwyer
MA – Art In The Digital World
Martina Moyne* James Toland*
M.Litt – Education Andrea Cleary
Aishling Muller Laragh Pittman Ciara Scanlan
MA – Art In The
Contemporary World Cormac Browne
Miranda Driscoll* Emma Dwyer*
Siobhan Geoghegan* Ciara McMahon Joseph Nagle*
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*
MA – Design History & Material Culture Clare Barman
Aifric Iremonger Mooney Noreen McGuire David Purcell
Penelope Whorrod Eimir O’Brien
* 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: email@example.com
Inez Nordell Costume for Performance
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
Bram Stokerâ€™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.
Anneâ€™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,
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. www.venetikidis.com firstname.lastname@example.org
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.
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 teachersâ€™ 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. email@example.com
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. firstname.lastname@example.org
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 â€œIn 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.â€? 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…
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. email@example.com
«« ‘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. firstname.lastname@example.org
«« ‘Truth Lies Body Substance’
Kohei Nakata My work deals with a notion of â€œimage
The notions of colour are classified by an
image and an impression, which are
colour chart. People recognize colours by
of mobilityâ€?. 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 viewerâ€™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. email@example.com
Maria Oâ€™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. firstname.lastname@example.org 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. email@example.com
«« ‘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. firstname.lastname@example.org
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. email@example.com www.seanodwyer.com
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. firstname.lastname@example.org tunegum.tripod.com +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. email@example.com www.aishlingmuller.com
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.
firstname.lastname@example.org email@example.com http://frances-flora.tumblr.com http://twitter.com/Francesdaran
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.
www.productservice.wordpress.com www.ciarascanlanart.wordpress.com Phone: +353 87 969 9945 firstname.lastname@example.org
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. email@example.com
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.
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. firstname.lastname@example.org
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 Dublinâ€™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. email@example.com
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. firstname.lastname@example.org
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.
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. email@example.com
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
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. firstname.lastname@example.org
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. email@example.com
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. firstname.lastname@example.org
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.
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’. email@example.com
«« ‘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. firstname.lastname@example.org
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. email@example.com 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. firstname.lastname@example.org
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, â€œUniversity 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 Outcomesâ€? 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 email@example.com
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”… firstname.lastname@example.org
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. email@example.com
«« ‘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. firstname.lastname@example.org
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 Oâ€™Brien Recent Publications (Selected):
Recent Conference Papers (Selected):
Ars Electronica 2009, Circa No. 230,
Presented paper on Film, Games, Reality at
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,
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: http://www.uel.ac.uk/
culturalstudiesnow/journals.htm Presented paper on new media art in
Ireland at conference on Irish Studies in
University of Limerick, 22 â€“ 24 June 2007. Presented paper Theorising Terrorism at
conference in UCD, 27 February 2007. email@example.com
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
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. firstname.lastname@example.org
«« 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.
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.
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
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”