Please note our Galleries are open Tuesday to Saturday 10.00am to 4.45pm
Silver Part 3 will be opened by Peter Murray, Director, Crawford Municipal Gallery, Cork on Saturday 21 November at 3.00pm and all are welcome.
Silver Part 3 at Uillinn: West Cork Arts Centre is the third in a series of exhibitions taking place throughout 2015 to celebrate the twenty-fifth anniversary of the Backwater Artists Group.
Founded in 1990 by graduates of the Crawford College of Art and Design, Backwater Artists Group (BAG) is the largest purpose-built artist studio facility in the region. It houses an established artists' group, now in its twenty fifth year. Backwater is an artist-run organisation with an artist-led Board of Directors who are dedicated to improving the working conditions and support structures for visual artists. Located in Wandesford Quay in the heart of Cork City, BAG share their premises with Cork Printmakers and CIT Wandesford Quay Gallery.
Backwater caters for thirty-nine artists at present. The artists work in many different disciplines including sculpture, painting, photography, new media, installation, performance, print, ceramics and stained glass. For the exhibition at Uillinn, work by twelve of the Backwater artists has been selected for a group exhibition spanning both galleries.
The core of Lorraine Cooke's practice has been drawing the human form, but recently, she says that 'in between working with models, I am painting flowers - in particular single roses - observing objectively and without sentimentality'. Drawing the human form has been the backbone of Lorraine Cooke's practice since graduating from the Crawford College of Art and Design in 1994. She says 'Martha and Inma have been staunch presences in my work for over 16 years. The mutual ease in which we work together, has given me the time and space to continue to to find my way with painting'.
Lorraine Neeson works primarily with lens-based media, light, sound, video installation and architectural intervention, to create phantasmagoric environments that disrupt and disorient spatial and temporal logic. A fundamental theme is the simultaneous representation of conflicting states of revelation and obliteration. Strategies of inversion and reversal and the implementation of dislocating devices are employed, to invoke intrigue within environments, where visual and aural interruptions are manifested as shifting shadows, as light and sound from unexpected sources, and as implied thresholds and portals that simultaneously entice and impede. The Future is not What it used to be uses neon, reflection, electrical phasing and sound. The neon text alternates between on and off states as it fades in and out slowly as if on the point of electrical malfunction. As the neon becomes illuminated, the reflection appears, in its correct orientation in the black glass and the text becomes legible. When the light fades, the text disappears from view in the black glass and becomes once again illegible. An electrical buzz can be heard as the text illuminates.
Angie Shanahan's painting montage explores the relationship between the physical reality that we see and the invisible conceptual reality harboured in the spirit of a particular place.
Darn Thorn's Arcadia in Grey responds to issues of tourism and regional identity. It is part of a suite of works made for a project of the same name at Sirius Art Centre (Cobh, Co. Cork) in August 2015. In the 18th and 19th centuries the rural residences of the British aristocracy in Ireland were commonly represented in artworks using the motifs of the Pastoral and the Picturesque. Justin Carville in Photography and Ireland (2011) brings our attention to fact that the ‘big houses’ were portrayed as heroic outposts exerting a civilising influence on the chaos of rural Ireland and its inhabitants. Drawing on similar motifs in our times, the advertising imagery of Fáilte Ireland often engages the mythology that rural Ireland has always been ‘wild’ and depopulated. Both readings ignore the fact that before the famine (and mass migration) areas such as rural Cork were densely inhabited and that the land was not ‘wild’ but had been tended for generations. Responding to these ideas, Arcadia in Grey depicts a grainy image of a castle, swathed in mist, seemingly de-materialising in a moribund monochrome landscape. The neo-pictorial rendering of the site is disrupted by the inclusion of a small modern building site office in the bottom corner of the frame. Shot on 35mm film (a format associated with documentary and vernacular photography) the image is digitally reprinted and hung in strips that reference wallpaper, operating as a device to suggest to the viewer that what they are seeing is a veneer.
Helen O'Keeffe's work is inspired by childhood memories, retrieved from both personal and found imagery which were used as an initial point of departure. Her concern is not necessarily the recreation of a specific image or moment, but the recreation of something informed by the act of remembering or her emotional response to her surroundings.
Fiona Kelly's recent work explores wasteland and abandoned spaces alluding to isolation and the interim. Her observations of the manmade landscape, topographic movement, stagnation and metamorphosing debris are representations, characters for her contemporary fables; a legacy of longing, disposability and escape. In uniting objects, reclaimed materials and text she endeavours to generate happenings. Through visual combinations the viewer is invited to join in a fundamental dialogue intrinsic to Kelly’s work which quietly speaks of urban sprawl, throwaway culture, and the absurdities found in unremarkable environments. Here she presents a sculptural installation made for Hexagon, a collaborative project which explored the boundaries of printmaking.
Megan Eustace regards drawing is a tool of communication and perception. She says 'through the use of various media and drawing processes, I draw out my relationship to the objects, spaces and places beyond me. The observed is depicted, emotions registered, the unsayable is encountered. The form and space inhabited by my life model is observed and revised over days before a pose and viewpoint are determined. I am looking for something hidden in a pose or perhaps it’s the moment as my model passes between one pose and another. Like the moments we ourselves navigate between our inner and outer realities. In the landscape I draw one leaf at a time using a process I teach to students in the life room. The observation is intense; the drawings are durational. I draw through carbon copy paper, which prevents you from seeing what you are drawing. The eye hand and brain operate just beyond control. Thus I hope to register the non-verbal experience of looking'.
Ben Reilly collects, casts and recombines objects that are drawn from various historical moments, ranging from dusty Victorian to 1950s kitsch. His irreverent, humorous sculptures appear at first glance to be weighty, metal structures that possibly refer to airships, searchlights, mines and other ordnance but are in fact made from densely pigmented wax. Three recent sculptures are shown alongside a video work which combines science fiction with what seems like modern bombed-out buildings, filmed in low tech, with the manipulated sound of a single breath.
Róisín Lewis' current work investigates ways in which a long distance swimmer's experience of the sea can be communicated through drawing. In vast expanses of water, there are few landmarks by which to measure progress and time becomes hard to gauge, marked only by the rhythm of the body as it moves through water. In these drawings, this movement is related rhythmically to the experience of drawing.
Éilis Ní Fhaoláin's work examines quite, day-to-day, issues of boundaries , predators and protection. She takes inspiration from myths and fairy tales and juxtaposes them with real life situations. She investigates the nature of objects and subverts them in order to construct a different or new meaning. Her work examines ideas of freedom and responsibility and their associated physical and mental boundaries. Wings and ladders can sit with rope and cages questioning security, containment and escape but equally, imagination, transformation and freedom.
Found objects are utilised, remodelled or replicated using plaster, paper or other mixed media. The surfaces of the work are often layered or intricately embellished with paint.
Jo Kelley is interested in mythology, fairy tales, and other forms of narration. Her work is figurative, and an exploration of an imagined world, with reference to collected objects and past experience. The reconstruction and reinterpretation of personal history is another important element within her practice. She is interested in the tension between the actual and the imaginary, and the questions that surround the issue of authenticity.
Donna McNamara's work is from a suite of paintings inspired by various landscapes with particular visual reference to islands of West Cork, while intertwining other landscapes of Greece and Italy and capturing the presence and mystery that each island holds.
Please note our Galleries are open Tuesday to Saturday 10.00am to 4.45pm
Bespoke gallery tours are available by appointment for groups. Please contact 028 22090 or email firstname.lastname@example.org for more information or to book a tour.
WEST CORK ARTS CENTRE
NORTH STREET, SKIBBEREEN
PHONE: + 353 28 22090
FAX: +353 28 23237
Monday - Saturday 10.00am - 5.00pm