by 126 Interns 2018-19.

PROCESS /ˈprəʊsɛs/ noun a series of actions or steps taken in order to achieve a particular end…

126 was proud to present ‘Process’ an exhibition curated by interns, Conor Burke, Emily Lohan, Meabh Noonan and Courtney Sharos. The three artists exhibiting were selected via Open Call; their individual responses to the definition of process combine media, sculpture, sound and light.

  • Woman (2016), Tara Keegan

“Woman” consists of 784 hand moulded wax ovaries. 28 ovaries were made a day, over a period of 28 days. Inside each wax ovary is an edible nut which is attached to a strip of a red nylon tight. The ovaries are hung on a series of kitchen wire racks that are attached to the ceiling which hang at random lengths, each one different from the next. Below the ovaries a record player and two large speakers lay flat on the floor, where a light gleams out making contact with the ovaries and creating a luminous glow. A record spins round and round underneath for 8 minutes then stops and is restarted again, this cyclical act repeats itself for a period of eight hours every day over a period of 3 days and then restarts again. The sound emanating from the vinyl is like a monk’s chant, however it is not male but female. The sound was created using a stanza from a poem written by the artist in relation to reproductive illness as seen from a first-person perspective. Five female voices of different ages in different stages of their reproductive lives, recite the stanza. The tones and pitches coming from the different female vocal larynxes, affected by different amounts of hormones, changes the frequency and tone. The result of this, is a vibration of tones and pitches which reverberate through the body upon entering the room, much like a foetus in a mother’s womb would feel and hear the vibrations and hum of sound from the outside world.

The temporality in this piece focuses on the number 28, an association to the female reproductive system in an abstracted concept of cyclical time. The body’s inhabitation of space and time is fragmented into colour, sound, matter and form. The 784 hand-moulded wax ovaries represent the cyclical nature of reproduction through a repetitious act, the largest representing the most fertile stage of a woman’s reproductive life and the smallest the end of this cycle, menopause. The emotion portrayed in this piece establishes a link between the art of poetry and sculpture, questioning forms and shapes while in turn, the act of writing and performing the stanza which in itself is measured and arranged in time, becomes three dimensional. The inner body as an autonomous space with its own emotional spatial and physical qualities has been changed forever. This body is charged with emotion and comes alive through the object in the outer world.

Tara Keegan is a Visual Artist and Participatory Artist, fascinated with the human body and its ability to adapt and change to its environment. Her studio practice explores growth, disease, cells, reproductive organs and the body in time and process.

  • Imposed Order (2018), Alicia Clooney

The work explores the inter-relationship of the conscious and unconscious mind and the role of vulnerable body as host. Conscious logic is present in the creation of a grid system – an act of imposing order upon amenable materials. This grid formed from tubes of wallpaper paste, a material which is typically concealed, brings forth questions of that which exists beyond plain sight. The untouchable and unreachable, yet undeniably present – a parallel to the unconscious mind’s autonomy. The permeable skins that encase the wall paper paste allow for a bodily process of degeneration and eventually leave behind only a skin of their once rigorous formation. Emptying and changing, the tubes parody the grid. This deviation of system through organic process, invalidates the cognitive, and exposes the futility of the conscious mind’s constant desire to exert logic and reason over even the most disparate of factors.

Alicia Clooney is originally from Waterford and is currently studying at Limerick School of Art and Design, where she is in her third year of a Sculpture and Combined Media degree. Alicia’s practice focuses on investing the influence of psychological state upon the maker. Through repetitive material interaction, productivit y and development is not only archived but analysed, creating an awareness of behaviour that is physicalized in the art object. This analysis of self brings forth issues of habit, control of the body and the battle between impulse and reason.

  • Casting Cycles – A Fallible Control – (2018), Theo Hynan-Ratcliffe

The purpose of these perpetual vessels is to embody their own form of synthetic mortality, all the vessels operating within a systematic ecological chain of process. Through creating her own method of casting, the artist forms a process, outside of tradition, that has an impermanent residue. This allows the assumed expectation of a cast to be challenged, giving way to the ritual of casting rather than the perceived final document. Comprised of three elements, the casting cycles concern themselves with enacting the ritualistic process of casting. The casts are followed through their life cycle, the oxidization forming crystal structure, the protective skin layer formed with varnish or PVA, and the dissolution process reducing them to sediment and water. Throughout this process, the artist’s hand is constantly present and these objects become a bodily residue of transaction and duration.

Traditional casting carries with it a weighted implication of functionality drawn from the patriarchal language of sculpture; by constructing a methodological sphere outside of this, the casts operate as extensions of feminine gesture in a parallel practice. The casts enact a cycle of fallibility, in continuous states of transition, each object coming back to dissolution thus triggering the event of next construction.

Theo Hynan – Ratcliffe is a Third Year Sculpture & Combined Media student in Limerick School of Art & Design. She is a current member of the Douglas Hyde Student Forum and was recently published in the RHA’s Young Art Writers zine, launched at the Dublin Art Book Fair 2018 . Within her praxis she interrogates empirical process, and conjures a system of production outside of this, working to a phenomenological measurement of discovery both in academic writing and scientific experimentation


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