Creating Place Borrowed Ground Residency Droichead Arts Centre – April to July 2019 Researched and written by Dorothy Smith
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‘Alive – process flowing – full of ideas’
Creating Place Borrowed Ground Residency This document was commissioned by Droichead Arts Centre to mark the Borrowed Ground Residency which took place in the gallery space of the Centre from 30th April to 14th July 2019. We hope it provides insight into the importance of studios to the development of the work of individual artists. It argues the case for artists’ studios as an essential but often overlooked element of a healthy arts eco system and it speaks of diversity and of how the inclusion of artists and the provision of arts infrastructure can contribute to the quality of life and placemaking in a town and wider community.
Since this initial research took place, Borrowed Ground has secured a building, for some of the artists, with legacy funding from Creative Ireland. Please see page 19.
Borrowed Ground Artists’ Collective Borrowed Ground Artists’ Collective is a group of artists working towards the establishment of quality, secure artists’ studio space in Drogheda, Co Louth. Supported by Droichead Arts Centre the group started in 2017 when Droichead invited a number of artists to come together to discuss their needs as artists living and working in Drogheda and the north east region. This core group identified their two most pressing concerns to be: the lack of work space in the town
One of Droichead Art Centre’s core strategic goals is to support art and artists, to create an ecology which nurtures art and artists, and to facilitate the production and presentation of high-quality work. Supporting the development of local professional artists in the north east region is key to this. Borrowed Ground was initiated to address the immediate concerns identified by these artists. ———— 4 — 5
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the difficulty in connecting with other artists in the area.
Drogheda The population of Drogheda at 41,000 makes it the largest town in the north east region of the Republic of Ireland. Near the mouth of the river Boyne, it is centrally located; 49 km from Dublin, 35km from the county town Dundalk and 27km from Navan. It has a rich history as one of the oldest towns in Ireland and is currently seeking city status. Drogheda has a well-developed arts infrastructure. It has two significant publicly funded arts institutions in Droichead Arts Centre and the Highlanes Gallery. It has a number of successful public facing arts events and festivals including Drogheda Arts Festival and Drogheda Traditional Music Weekend. The town has been the beneficiary of public realm works creating an attractive people centred main street. The establishment in recent years of BIDS (Business Improvement Development Scheme) and forthcoming plans for West Gate Vision promise a renewed energy and commitment to place making. Drogheda’s long history and heritage can be seen in the wealth of historical sites that reside within and around the town.
Borrowed Ground Residency In 2019, Droichead initiated the Borrowed Ground Residency, an experimental artists’ studio space that took place in the gallery space of Droichead Arts Centre. The gallery space in Droichead was divided into eight studio spaces using a basic MDF partitioning system. The partitions were 2.5m high and the studio spaces ranged from 3m x 4m to 5m x 4m. There were no closing doors on the individual spaces and each studio opened onto a central corridor. Four artists decided to share their spaces so 11 artists took part, aged from early 20’s to 50’s. Eight women and three men were selected from an open call process.
The artists moved into the studios on the 27th April, and the Borrowed Ground Residency was officially launched on the 30th April as part of Drogheda Arts Festival.
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In addition to the nine studios the cafe/bar space which adjoins the gallery was made available for workshops and classes and was the location of Art Share. Art Share, a comfortable reading and relaxation area made possible by a donation of books from IMMA (Irish Museum of Modern Art) was negotiated by thirtythree-45 and Droichead as part of the Borrowed Ground residency.
The Borrowed Ground Residency offered a communal setting for artists’ studios. It was a space for connection, creative thinking, and public engagement through its
open studio policy. In a landscape of meagre provision of artists’ work spaces, and common feelings of isolation, the project demonstrated the need for dedicated artists’ studio spaces and highlighted the importance of valuing and supporting the existing but scattered community of visual artists in the north east region.
Studio Situations
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During the course of Borrowed Ground Residency conversations between the author and each of the eleven resident artists took place separately in the studio setting. All artists were asked the same questions about their studio history, their feelings about being involved in Borrowed Ground, what makes a good studio environment and where they were going when the residency finished. All the quotes used in this document are taken from those conversations with the artists. The Borrowed Ground artists spoke about their studio histories. Many have had peripatetic existences. Some have worked in or been members of group studios both in Ireland and abroad. Others have never been involved in a group studio. Many have had private rental arrangements directly with landlords. Some artists have had or do have part time or occasional access to specialist group studios e.g. print studio, sculpture studio. Artist residencies have played their part in helping some of the artists in their quest for space and time to work, e.g. Tyrone Guthrie Centre, Fingal County Council Artist Residency. Others have had the experience of being involved in the complex negotiations to establish a group studio to have it fall apart late in the process. One artist had their locks changed and was locked out of their studio by a private landlord.
Eleven artists took part in Borrowed Ground. Of those artists, seven had their studios/work spaces at home, two had no studio and two had privately rented studio/ work spaces.
Kitchen Table Of the seven who worked at home, two had use of a box room, two had recourse to an outdoor shed for rough work and the rest had no designated space in the home in which to work. All of these seven artists reported using the kitchen table as a place of work. For many of this group it was their only place of work. All of these artists reported finding it difficult to separate home life from work life and of this having a detrimental effect on their work and in some cases on their self-worth. Words the artists associated with this working situation included;
‘claustrophobic’, ‘oppressive’, ‘distracting’, ‘limiting’. One artist acknowledged that there are some positives – home is free and convenient travel wise – however the downsides of working at home without a designated working space far outweighed the positives in the interviews with all of the artists.
‘my work is secondary, not a priority in the household’
‘always fitting in between – time wise and space wise’
No Studio Two of the artists had no studio immediately prior to taking part in Borrowed Ground. One had a private rented space (shared with another artist) in Drogheda until relatively recently but had left due to changes in the rental terms. The other artist has had no designated studio space since moving to Drogheda over a decade ago other than a six month use of a commercial warehouse for a commission.
‘home is too busy a space to work in’
‘work does not happen when you do not have the space’
Private Studio The other two artists had studio spaces. One artist has a space rented privately from an acquaintance and the other artist had come directly from an artist’s residency programme. Whereas both were reasonably happy with their current situations, both commented on the short term and insecure nature of these arrangements.
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Effects of having studio in Borrowed Ground Residency There was overwhelmingly positive feedback with regard to the Borrowed Ground Residency communal studio arrangement from all of the artists involved. The common theme in all the conversations was how great it was to be in an environment with other working artists.
‘Better for my mental health’
All spoke of how supportive the communal studio environment was, enabling artists to bounce ideas off other artists, share experiences with people with whom you have a mutual interest and being reassured that other artists experience the kinds of doubts and difficulties that you do.
‘mutual support, ideas exchange, relaxed chats can morph into inspiring conversations’ The casual, informal nature of this interaction was important, and possible due in part to the physical layout of the space. All artists spoke about problems of isolation and the lack of support for visual artists. Many found it stimulating simply being in an environment with other people working creatively.
‘very helpful to be working in a space with other creatives’ ‘being around others working – energy in the atmosphere’ A great variety of processes and materials was evident in the studios. Many artists cited being exposed to other peoples’ processes and ways of working as stimulating.
‘I found that I was inspired by the ambition and focus of other artists’ ‘great to see new stuff when you come in’
‘I’m not isolated, I’m more productive here’
A number of artists talked about the ‘joy’ of having their own designated studio space and the benefits of not to having to put things away at the end of a working day. This must be done if sharing a studio or working at home on the kitchen table. Being able to leave work and tools out contributed significantly to the creative process by saving valuable time and allowing the work to be seen, for it to ‘seep in on you’.
‘I can interact with the work here … I have head space … full of ideas’
‘I feel more involved in what is happening in the town’
‘Freedom of being able to walk away from the work – the physical space gives you head space’ When asked if participating in Borrowed Ground had changed anything the artists’ replies included;
‘Definitely, I feel part of something’
‘being here has changed my practice … my perception of it … now I see all the variety of creative practices I do as part of my art’
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‘I hear about what other artists are doing, hear what people are applying for. I am more open to applying for things, more open to other art forms’
Public and Private Spaces From its inception Borrowed Ground had an open door policy for members of the public. The studios were open for the public to visit during normal gallery opening times and during performances in the theatre (the theatre is accessed through the gallery). Two artists said that they had been apprehensive about this aspect of the residency prior to the start of Borrowed Ground. However all artists said that in reality people were respectful and many were pleasantly surprised at the non-intrusive nature of the interaction with members of the public. One artist said that it could be awkward as each encounter had to be negotiated separately. Everyone said it was about getting the public/private balance right and that that balance is different for everyone.
‘The balance between your private space and public interaction is very good here’ For some it was a surprising positive addition to the residency.
‘I was apprehensive about the public access, now it is what I want – an unexpected outcome’ Being able to see works in progress was beneficial both for other artists and for members of the public, giving insight into the often messy creative process, far removed from the finished works that are usually the only point of contact between the artist and the public.
‘Conversations with members of the public was an unexpected benefit of Borrowed Ground’
‘interesting for artists and for public to see works in progress ..opens up art and art making.. opens up conversations’ Some visiting members of the public were themselves artists who were not involved in Borrowed Ground. This helped to make connections towards creating a wider arts community.
Insecurity
‘… made me more realistic and pessimistic …’
Insecurity and affordability were common themes that ran through all the artists’ experiences. Many of the artists could only spend time in the studio two or three times a week as they were working other jobs to earn money. This in no way lessened the importance of having a studio in which to be an artist. None of the artists had ever enjoyed a long term secure studio space. For the youngest artist in Borrowed Ground it was ‘a wake up call’ that professional artists in their 40’s and 50’s were making do with no studios, inadequate studios, and no security of tenure.
‘’kip’ – thought it was all I was entitled to … low expectations’
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A number commented on the standard of previous studios they had occupied.
Breaking Isolation Isolation and lack of connectivity were the predominant problems identified by all the artists prior to taking part in Borrowed Ground.
‘A studio has to be about breaking down the isolation that so many artists feel’ ‘Difficult to find artists in Drogheda as they are all in their kitchens’ One artist had two very different residency experiences abroad: one was ‘very welcoming’ with occasional ‘dinners and drinks in communal space’ while the other, in a large group studio with no communal space or social infrastructure, was ‘very isolating’. The sense of community engendered by the physical space and the working atmosphere of the studios was the most frequently mentioned positive side to taking part in Borrowed Ground.
‘The studio is a community’
‘I feel isolated working at home’
Energy and Potential There is energy and potential residing in the Borrowed Ground artists that are living in Drogheda and the north east region. At the moment many of these artists are working in unwanted isolation. Borrowed Ground Residency, a temporary, short term studio residency brought people together, fostered ideas, connections and ambition. The potential in this collective energy could be nurtured and focused to benefit the wider community. Artists have much to contribute to the social and economic fabric of our society: their energy needs to be supported, valued and respected.
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Sufficient artist studios and work spaces are currently missing from the cultural mix in Drogheda. There are excellent publicly funded visual art spaces, yet inadequate supports for visual artists who are based in the locality. Artists who live or want to live and work in and around Drogheda find it almost impossible to find studio space. The town is missing out on the energy, potential and input of many creative people.
‘there needs to be diversity of thinking represented on public bodies and seen in public spaces’. What makes a town a vibrant place that people want to live in and visit? Could Drogheda become a viable and attractive place for artists to live and work? Additional provision of arts infrastructure, in the form of more artists’ work spaces, would say ‘artists welcome here’. The image of the town would shift to encompass this new development and its appeal would broaden. The town and its people could be proud of supporting locally based artists. Borrowed Ground Residency created energy. Other artists came in to see what was going on, possibly hinting at the beginnings of a cultural hub.
‘Even this temporary thing started to change things.’ Many creative spaces in Dublin have closed in the last few years. Artists are moving out due to lack of work spaces and high rents. Could Drogheda offer an alternative base with artist friendly ethos, social scene and infrastructure?
‘creating a town is not all about economics – making needs to be understood and valued’
A New Dynamic Drogheda, as a central and large urban centre, is ideally positioned to provide artists’ studios, a much needed and valuable arts infrastructure. Support for group studios would be a statement that Drogheda and the north east region values artists and their contribution to the life of the community. An urban space is an ecosystem. It requires diversity to sustain itself, a mix of social, economic, cultural elements. ‘Life builds on social contacts and culture – why go to a place if there is no culture.’
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Vibrant social places that people are attracted to are created by mix and diversity. A group studio would enable a relationship to develop between the artists and the public; it would provide a base from where an arts community could grow and be part of the current and future public life of the town and region. It would create a new dynamic that could open up possibilities for all sectors.
From Residency to Studios Since this initial research took place, Borrowed Ground secured a building in early 2022 with funding from Creative Ireland. In the four years since Borrowed Ground Residency the Collective has visited and followed up on over 22 spaces in various locations and states of appropriateness in both private and public ownership and has approached the local council regarding a number of vacant properties. A number of Collective members engaged with design thinking processes through Innovating Communities, a free training and mentoring programme designed to empower local people to work together in overcoming challenges. This helped the group to stay engaged, focused and clear in intentions, and to build and maintain relationships and trust. The members of the Collective benefitted from each other’s support through the rollercoaster of raised hopes and flat disappointments, when at the mercy of landlords, unstable market forces and a national property crisis. Droichead Arts Centre continues to support the Collective.
Arts Infrastructure North East Region The north east region is host to a number of publicly supported significant art spaces.
These centres offer high quality facilities, and opportunities for both artists and the public to engage with a wide range of art forms. They represent significant and welcome capital investments in arts infrastructure. ———— 20 — 21
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Droichead Arts Centre, Drogheda – multidisciplinary arts centre – gallery, theatre, bar, workshop spaces, print studio, education and outreach programme, artists’ work spaces and artists’ supports. Highlanes Gallery, Drogheda – gallery, municipal collection, cafe, events, education and outreach programmes. Solstice Arts Centre, Navan – multidisciplinary arts centre – gallery, theatre, café, education and outreach programmes, meeting room, artist in residence programme. An Táin Arts Centre, Dundalk – multidisciplinary arts centre – gallery, theatre, education and outreach programmes, artist in residence programme. Creative Spark, Dundalk – not-for-profit social enterprise, print workshop, ceramic facilities open to members, local creative industries, innovative enterprises.
The north east region is home to a number of artists’ studios. Millmount Cultural Quarter, Drogheda, provides space for a mix of commercial enterprises, craft studios, artists studios and a historical museum. Bridge Street Studios, Dundalk, founded by 2 ceramic artists in 1996, provides studio space and facilities for 10 artists and crafts people and incorporates a small retail outlet/gallery. Bó Studios, Dundalk, recently launched and supported by An Táin Arts Centre. It provides 4 studio spaces. Barlow House, Droichead Arts Centre, Drogheda, a number of spaces for artists in association and bursary recipients have been created in Barlow House in recent years. The Artist in Residence Programmes in Solstice, An Tain, and Droichead provide much needed support and stimulus for the artists awarded a residency but like all artist in residence programmes they beg the question: where was the artist working prior to the award and what will the artist’s studio situation be afterwards. Some artists living in the north east region travel to Dublin to avail of studio space. Further afield there is the recently established Engage Longford (providing 8 studios spaces) and Abbey Road Studios, Athlone, linked to the Luan Art Gallery ( providing 4 studio spaces). This leaves a large area of the NE region with inadequate or
almost non-existent provision of studio spaces. Artists need workshop spaces for print and ceramics and welcome the opportunities that residencies bring but none of these provide what artists are saying they really need – long term, secure studio space. The situation for artists looking for studio space in Drogheda was described as ‘desperate’ by one artist with ‘no spirit of support’.
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‘Artists want to be part of society’
The infrastructure outlined above falls far short of what is needed to support and nurture a dynamic sustainable arts community. The emphasis on the public facing infrastructure and programming is not being balanced in the visual arts by investment in where the making takes place: the artist’s studio.
Group Studios Ideas The following ideas and recommendations have been collated from the conversations with the Borrowed Ground artists. These are intended as guidelines only and would have to be fleshed out by all parties involved in any future development. Purpose Primary purpose is to provide an artists led studio space. Town Nobody interviewed wanted a group studio in the countryside. All the artists wanted the vibrancy and connectedness afforded by being based in an urban setting. Members 10 – 14 seemed to be a number that was neither too small nor too big; enough people to pool skills and ideas but not so many to become unwieldly and anonymous. Studios Not everyone needs or wants a big studio. Some artists need larger, outdoor/semi outdoor space for rough work and smaller clean space for generating and working out ideas. Community Everyone involved in Borrowed Ground wanted to be part of a community of artists. The benefits of this are outlined in
this document. Members can also work together to promote individual artists, the artists group and the studios. Members can pool resources and skills. Presence It was felt that ‘artists need to be seen’ and that outwardly the building should look like artists’ studios. ‘A studio should be visible, to be known as part of the community, to have presence and fully part of the town’. This would help open up possibilities for the artists and people in the town. The ground floor space was felt to be particularly important: it should be ‘active space’. It would add vibrancy to an area and encourage interaction between artists and public. ‘With a visible presence there is possibility of others thinking ‘maybe I can try that’’ Communal Space All of the artists wanted the studios to include a flexible communal space. This would provide a common work area and social space for the artist members, a gathering place for
‘Good for people to see that this is a possibility, that this is a real job’
the wider arts community and a space to host workshops, events, talks and screenings. Public Programme A public programme of workshops, schools visits and artists talks would give access to the wider public to meet artists and see the process of making.
‘The public should have insight to the process of art making’
Each artist member would have to decide for themselves the level at which they wanted to engage in any public programme. Workshops also have potential to create an income stream for artists. ‘Public engagement makes an art practice more integrated part of the community and everyday life’ Commitment Artists particularly need and want longer term commitment and security.
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‘Artists need local authority support – have to get beyond temporary solutions’
Recommendation In addition to the above ideas, co-working or hot desking could be integrated into the studios without taking away from the primary purpose. It could benefit the studios in that there would be a greater number of people using the space contributing a wider diversity of skills and experiences. It could also provide an income stream.
Design and Connectivity Connectivity is central to the success of the studios, both between the artists in the studios and beyond the walls into a wider community. The casual, informal connections which the artists so valued, were enabled to a large extent by the design and spatial layout. The Borrowed Ground Residency had a good mix of privacy and interaction due to the central corridor and open studios. The open studios are unlikely to work in the long term but these factors need to be considered early in design and planning. The studio’s location in the town will effect both the studio and the area of the town in which it is based. Proximity to town centre, facilities, social and practical, and walkability are very important.
Any future studio development would have to consider its legal and practical structure. At what forum will decisions be made? Will it be a company limited by guarantee with an independent Board? How would that Board be appointed and who would be represented on it? Would there be a founding core group of members and other studio space for non-members? How will the day to day administration and management workload be shared? What will the connection be with Droichead Arts Centre and the wider community and will this be represented in the management structure? These factors will have a huge impact on the atmosphere and the ethos of the studios; they will create limitations or open up possibilities.
Borrowed Ground Artists Collective Vivienne Byrne Vivienne Byrne is a Drogheda based artist whose multi-disciplinary practice mixes traditional drawing techniques with video and mixedmedia installation. Her interests lie in exploring the nature of time with emphasis on the transitory experience to reveal visual music, inspired by the natural environment of Co. Louth, where she lives with her family. Since graduating from IADT Dun Laoghaire in 2009 with a BA in Visual Arts Practice she has worked both collaboratively and independently and has received awards from Arts Council Ireland, Louth Local Authority, Create Ireland and Creative Ireland with work in public and private collections. https://www.viviennebyrne.com https://www.instagram.com/ oblivienneburn/
Nuala Early, a sculptor based in Drogheda, graduated with a BA Hons Fine Art degree from Duncan of Jordanstone, University of Dundee, Scotland in 2010. Since then she has set up her art practice in Drogheda and in D15 studios in Dublin. Nuala works in stone and creates organic abstract sculptures that express the human experience and condition and uses forms in nature as inspiration.
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Nuala Early
Nuala had her first solo show in Droichead Arts Centre in 2018. Nationally she has exhibited in Sculpture in Context, Botanic Gardens, Dublin, Royal Ulster Academy of Arts, Belfast and Richard Scott Sculpture @ Ballymaloe, Co Cork. Nuala has served on the Sculpture in Context committee and has been awarded a residency in Cill Rialaig Co Kerry. www.Instagram.com/nualaearly/
Brian Hegarty Brian Hegarty is a visual artist originally from Dublin living in Drogheda Co Louth for the past 18 years. He had his first solo exhibition in the Droichead Arts Centre in 2000 and has had solo shows in Louisville, Kentucky, Lapua, Finland, the Ashford Gallery, Dublin, and has a forth coming show ‘Objects and Oscillations’ in Droichead Arts Centre in May 2022. He has exhibited in numerous group shows and has works in many private and public collections. Part of Brian’s practice includes music making. He home records collaged, experimental music under various monikers. Brian also runs ‘thirtythree-45’, a multi-platform arts project that works independently, in partnership and in collaboration with artists, musicians and arts organisations. http://www.thirtythree-45.com/ www.brianhegarty.com
Jillian Gott
Breda Marron
Jillian Gott is a visual artist based in Slane Co. Meath. She graduated as a mature student in 2008 with a BA (Hons) in Textile Design (First) from GMIT. Her visual arts practice reflects on the human condition, often underpinned by personal narratives, it is conceptually driven and materially unfaithful. Since graduating she has worked on a diverse range of community arts projects and initiatives. Her sculptures, paintings and textile pieces can be found in both public and private collections.
Since graduating from NCAD in 1997, Breda’s art has won many awards, such as the Taylor Art Award, Sculpture in Context Award and the Maritime Art Award. Her public art commissions include Slieve Gullion Sculpture Trail, Percent for Art Commissions for several schools, Drogheda Hospital, Dundalk Town Centre and the Sculpture Dublin commission. Breda’s art practice includes drawings, paintings and sculptures. As an artist she strives to create pieces which speak to the quiet part of our being. Her work draws inspiration from our inner and outer landscapes. The interconnection between nature and our sense of self, often inspire her paintings and site-specific sculptures. www.bredamarron.com
Laura Gramzow Laura Gramzow is a graduate of The Corcoran School of Art and Design, Washington D.C. and Studio Arts Centre International, Florence. In 2019, Laura completed a painter’s programme with Turps Banana, London. Awards include a Tyrone Guthrie Centre residency, a Cill Rialaig residency and a Droichead Arts Centre Bursary in 2021. Laura’s works are large scale, oil on canvas, which hint at celebrity, divinity, the society of the spectacle, and colonialism. In her practice, Laura refers to collected images from multiple sources relying on instinct and intuition as the best way to feel her way through a world awash with pre-digested, mass multimedia imagery.
Kieran McNulty Kieran McNulty is a visual artist and production designer. As a visual artist his work has evolved from figurative works to expressionist abstract forms. He looks at the rhythmic and cyclical forms in nature as an evocation of the human condition. Kieran has exhibited recently at the Toradh Gallery, Ashbourne, and has featured as part of the Surveyor Group Exhibition in Solstice Arts Centre. Kieran has designed theatre sets for many of the leading Irish production companies. In film, he has worked as a Production Designer on A Date for Mad Mary, Art Director on Frankie by Darren Thornton (Calipo, European Film Academy Award for Best Short), Pumpgirl by Abbie Spallen (PG Productions), Two Hearts by Colin Thornton (Calipo Pictures). www.kieranmcnulty.net
Violet Shirran Cloth is at the heart of Violet’s work and stitch is her preferred method of mark making, natural dye her preferred colour medium. The slow step by step process of natural dyeing perfectly complements her sewing. Although her work is conceptual and often involves contributions from followers on instagram, at its heart the work is primarily concerned with being environmentally friendly. Violet graduated from NCAD with a degree in Art, Craft and Design in 1988 and returned to study Embroidery and Printed Textiles. A member of Visual Artists Ireland, Cork Textile Network, Society of Embroidered Textiles and Surface Design, Violet divides her time between teaching art, workshops and working from her own studio in Drogheda, Co Louth. Violet has exhibited in group and solo shows both nationally and internationally. www.violetshirran.com https://www.instagram.com/ violetshirran/
Rodney Thornton is an visual artist living and working in Drogheda. His paintings and drawings explore our surroundings. He paints urban landscapes, the street corner, the local sweet shop and the Gaelic football pitch. He has a commitment to working from life with an emphasis on finding truthfulness in the object.
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Rodney Thornton
Thornton has an Honours Degree in Fine Art Painting from the Institute of Technology Sligo. He is a recipient of the Droichead Arts Centre First Solo Award and will present his first solo exhibition in Droichead in March 2022. http://www.Instagram.com/(@ thorntonrodney)
Dee Walsh Dee Walsh is a visual artist from Drogheda, Co. Louth. She works primarily in painting and drawing. Her work is rooted in a fascination with the urban landscape, and she creates pieces by layering architectural elements and geometric forms to produce landscapes that drift into the surreal. She has exhibited both nationally and internationally including Royal Ulster Academy, Belfast, Hangtough Contemporary, Dublin, Tulca Festival of Visual Arts, Galway, Straight out of Ireland (USA), and Irishwave (China). She has a First-Class (Honours) Degree in Fine Art from Gorey School of Art/ Carlow IT and a HDip in Education from NCAD. Awards include the R.C Lewis Crosby Award for painting from the RDS and a Droichead Artist Bursary 2021. Dee will be having a solo exhibition in Droichead in February 2023. www.deewalsh.com www.instagram.com/dee_walsh_ artist
Borrowed Ground Residence Participating Artists Vivienne Byrne Nuala Early Jillian Gott Laura Gramzow Brian Hegarty Breda Marron Kieran McNulty Caoimhe Jane Reynolds Violet Shirran Rodney Thornton Dee Walsh
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Dorothy Smith ARHA
Droichead Arts Centre
Dorothy is a visual artist whose practice is concerned with the built environments in which people live and work and in particular the construction and lived experience of public space. Her particular interest is drawing and how it can interact with contemporary places and concerns. Her practice involves studio based work and publicly engaged projects. She is an Associate member of the RHA (Royal Hibernian Academy). Recent exhibitions and projects include; solo shows, Land Marks, RHA Ashford Gallery and Made and Considered in darc space, Dublin; An Post stamp commission; curation of exhibitions Print Works and Orientation for Droichead Arts Centre; Arts Council funded public art projects Dalymount – Mapping a unique Architectural Space and Spatial Stories. Her most recent public art project This is Our Place A Survey of Dalymount, the Home of Irish Football a limited edition map and publication were launched in association with Bohemian Football Club in July 2021. dorothysmith.ie
Established in 1989, Droichead Arts Centre is a multi-disciplinary centre in the heart of Drogheda Town that provides an extensive curated arts and cultural programme. The Centre is housed over two buildings: Stockwell Street, which hosts a modern 169-seater theatre and a bright contemporary visual arts gallery, and Barlow House, an 18th century Georgian townhouse, which hosts artists’ work spaces. Droichead actively supports artists and arts organisations, and particularly those in or from the North East region as part of our Strategy 2021 – 2025, this is at the heart of who we are and what we do. It is why we exist. We want to enable artists to make work of ambition. We want to be part of an ecology which nurtures art and artists, and which makes the production and presentation of high-quality work available. We do this by providing a number of artist supports and development opportunities including but not limited to; residencies, bursaries, mentorship and other bespoke development support. Droichead is equally committed to its audiences, with people of all ages, backgrounds, cultures and traditions encouraged and enabled to engage with the Centre through a wide variety of responsive and imaginative schemes and initiatives. We know the difference the arts can make to people’s lives. That’s why we want to extend experiences of the arts to as many people as possible within our communities. We want the arts in Droichead to be of, by and for the people of Drogheda, East Meath and Louth. FB – droichead.artscentre Twitter – droichead_arts Instagram – droichead.arts.centre Youtube – droichead.arts.centre
Researched and written by Dorothy Smith Studio ground plan by Kieran McNulty Photographs by Jenny Callanan Photography Publication design by Niall McCormack
Published by Droichead Arts Centre February 2022
Droichead Arts Centre Stockwell Street, Drogheda, Co. Louth. Barlow House, Narrow West Street, Drogheda, Co. Louth. 041 98 33946 info@droichead.com FB – droichead.artscentre Twitter – droichead_arts Instagram – droichead.arts.centre Youtube – droichead.arts.centre
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