The Visual Artists’ News Sheet
May – June 2013
25
Institution profile
VAI Valerie Earley residency award
Exploring Hidden Histories MARGO MCNULTY DISCUSSES HER ONE-WEEK RESIDENCY, UTILISING THE PRINT FACILITIES AT THE TYRONE GUTHRIE CENTRE, CO MONAGHAN DURING AUGUST 2012.
Visual Artists Ireland Valerie Earley
Residency Award 2013 Margo McNulty, Bulb, photoetching, 15 x 25cm
Margo McNulty, Cans, photoetching, 30 x 21cm
During August 2012 I undertook a one-week residency at the Tyrone Guthrie Centre, principally to utilise their printmaking facilities, which had recently been re-furbished. In terms of general ambience, the location and setting of the Tyrone Guthrie Centre is a vital ingredient in the residency experience they offer. It is sufficiently removed from normal urban distractions that it immediately creates a sense of purpose. The surrounding woods and pathways are ideal for long walks and reflection and the lake is perfect for swimming. My first residency at the Tyrone Guthrie Centre took place about seven or eight years ago. Last year, I was delighted to learn that they had converted one of the studios into a print studio. As I work primarily as a printmaker and had an exhibition coming up in September 2012, Tyrone Guthrie seemed to be the ideal place to go to complete the series of works that I had begun for the exhibition. Before the residency, I had completed the preliminary stage of exposing and developing 12 photographic plates, ready for print. On arrival, I was very impressed with the 54-inch Rochat printing press, which is recognised as the best available. The size of the press means that it is ideal for printmakers who want to make larger prints. Unlike some workspaces I have seen before, thought had clearly been invested in how to make this studio particularly printmakerfriendly. The space and layout was clearly designed by a printmaker – with a large table and tray for soaking the paper. In addition, the studio was located away from the main house and I had 24-hour access. This enabled me to work at my pace and rhythm and not have to adapt to a rigid 9am – 6pm timetable. Although the studio provided some materials, I supplied my own paper, inks and blotting paper. This meant that I was able to seamlessly continue the work I had started in my studio with minimal disruption. As an artist, this is one of the biggest challenges – maintaining continuity and flow. During the course of the week, I managed to proof 12 plates, and 10 of these were successful. The facilities played a large part in this and exceeded my expectations. During my week in the Tyrone Guthrie Centre, I worked on 12 new pieces of work, of which 10 were successfully completed. These works were made in preparation for a joint exhibition in Aras Inis Gluaire, Belmullet with Geraldine O’Reilly (13 April – 3 May). The show will tour various venues later in the year.
The photo-etchings were a continuation of a series of work, which I began some years ago. This suite of work is called the Still Life Series. These photo-etchings are close-ups – microscopic portals to the past – based on photographs taken of my grandmother’s house in Achill Island, which has been unoccupied since its thriving period between the 1960s and the 1980s. My work deals with hidden history, memory and place, and with aspects of everyday life and experience. I often revisit these themes and I am influenced by geography, agrarian culture and certain traditions inherent in Irish culture. This recent body of work concerns itself with episodes of chance, the intersection of personal and public histories and how these histories and meanings can be embedded in material objects. Professor Luke Gibbons, NUI Maynooth, writing in the catalogue essay for the show at Aras Inis Gluaire, captured, I think, the essence of my work with the following observations, “Close-ups convey intimacy, but may also be too close for comfort, as interiors become ‘congested districts of loss and what might have been… In other images, paint awaits a finishing touch as abandoned tins are left on the shelf, and thin coatings peel off damp walls. Progress has come unstuck, discarded machines succumbing to rust and corrosion, extinct species once they no longer work. Objects that connected their users to systems and grids – a tap, a light bulb, and a dust-encrusted fan – seem out of place when deprived of human company. We cannot even recognise labour-saving devices that cannot save themselves, discarded by the very labour they almost made redundant.” The technical facilities of the print studio were conducive to a very rich and positive working environment. However, the ingredient that really joined it all together was the warmth and interaction with other artists and writers – engendered by the common purpose shared by all. Over the course of the week, I found that I developed friendships and shared experiences and information with artists and writers I had not met before. The various elements of the centre created an environment of openness, fun and generosity of spirit. I met artists who showed great interest in my work and I discovered that some of the ideas and themes that underpinned the body of my work resonated with other artists and writers. This stimulated rich exchanges and debates, which lasted into the early hours. It was truly uplifting from a personal point of view. The tone of the exchanges was always founded on mutual interest, curiosity and goodwill rather than competitive rivalry. This was not only fulfilling, but also validating both personally and professionally. After the residency, I have maintained contact with a number of the people I met and I am currently working with one of the writers on a joint project – combining words and images. In addition, the experience encouraged me to reapply for a bursary from Roscommon County Council for 2013. Fortunately, I was successful and I am planning to return to the centre this summer for two weeks, which I am really looking forward to. Although the group of artists and writers will be different, I know that the experience will be rewarding, inspiring and fulfilling. Margo McNulty is from Achill, Co Mayo. She graduated from NCAD with an MA in Fine Art. In addition to working as an artist, she lectures part time in Athlone Institute of Technology. She is currently living in the Midlands. www.margomcnulty.com
The Valerie Early Residency Award is a commemoration of our late friend and colleague Valerie Earley, who worked with Visual Artists Ireland as Membership Manager for over 17 years.We wanted to provide a lasting memory of Valerie and hope that this award is one way that Valerie’s care for our artist members will continue into the future. Applications are now sought for the 2013 inaugural Visual Artists Ireland Valerie Earley Residency Award. The award provides for a two-week retreat at the Tyrone Guthrie Centre. It includes two weeks selfcatering accommodation plus a studio. The Tyrone Guthrie Centre is set“in a tranquil, beautiful setting amid the lakes and drumlins of County Monaghan. With the advice and encouragement of his family Sir Tyrone Guthrie bequeathed his family home and estate to the State with the proviso that it be used for the benefit of artists. It was an inspired decision and one that has positively reshaped the cultural landscape of Ireland forever.” This award is open to all VAI Members. For further details on the Tyrone Guthrie Centre, and to apply, go to: www.tyroneguthrie.ie/information-forartists/application-information In your application clearly state: your name; VAI membership number; the validity date that is marked on your membership card (NB applications will only be accepted with validation of up to date membership of Visual Artists Ireland) and that you are applying for the Valerie Early Residency Award. All applications should be made directly to the Tyrone Guthrie Centre. No applications directly to Visual Artists Ireland will be accepted. The application process is subject to the standard terms and conditions of the Tyrone Guthrie Centre.
CLOSING DATE: Friday 28 June 2013