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    Archived pages: 11 . Archive date: 2012-07.

  • Title: Limerick School of Art & Design
    Descriptive info: .. Home.. About Us.. Projects.. Overview.. Foyer.. Workspace.. Scan.. The Exhibition.. The Drawing Board.. Turbine Hall Proposals.. Proportional Analogies.. Videos.. Contact.. Links..

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  • Title: Limerick School of Art & Design
    Descriptive info: Introduction.. Table of Contents is a project led by Alan Keane, Róisín Lewis and Peter Morgan, in collaboration with staff and students at Limerick School of Art and Design.. The daily studio practice of artists and designers varies from individual to individual.. It can be a period of quiet reflection as much as a rigorous, frustrating engagement with material form or a systematic research of a particular issue.. While the public are usually presented with finished works, they are often quite unaware of the various strategies used by artists and designers to develop ideas.. This part of creative practice is normally hidden from view.. Our aim is to offer insight into the creative process from a variety of perspectives, by collaborating with practitioners from a range of art and design disciplines and also from wider fields of science, engineering and the humanities.. Our explorations currently take the form of a series of projects.. These projects and future explorations will form the basis for exhibitions, a series of lectures and workshops, and related publications.. For more information about these projects and to view work in progress please visit our.. Peter Morgan.. I left home when I was 18 and spent 5 years travelling and working at a variety of jobs, from a motorcycle messenger to the oil terminals in the Orkney Islands, and then to South East Asia,  ...   the bells go down: A Portrait of Cork City Fire Brigade.. Cork Corporation.. Collections include:.. The Arts Council/An Chomhairle Ealaíon; Tate Britain (Artists’ Books) London, University College Cork, Limerick City Gallery of Art, Crawford Municipal Art Gallery, Cork.. Róisín Lewis.. Róisín Lewis is a visual artist currently living and working in Dublin and Tipperary.. The focus of her work in general is the artistic analysis of perception and in particular the correlation between spatial and temporal experience and the drawing process.. Projects take the form of works on paper installations and multimedia collaborations.. She exhibits in Ireland and internationally, and has had solo exhibitions in the Ashford Gallery and Kevin Kavanagh Gallery, Dublin, and the Proposition Gallery and The Old Museum Arts Centre, Belfast.. She has been awarded residencies in Irish Museum of Modern Art and The Firestation Artists’ Studios.. She currently teaches drawing at the Limerick School of Art and Design.. Alan Keane.. Alan Keane is an Artist and Lecturer, his Artistic Practice includes painting and object based work and is informed by notions of Place and Travel.. He has been on many Artistic Residencies including NIFCA Vilnius Lithuania, IMMA Dublin and a one month Residency at Sea on the Marine Institutes Research Vessel, The Celtic Explorer.. He has exhibited widely at home and abroad and currently teaches Painting at The Limerick School of Art and Design..

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  • Title: Limerick School of Art & Design
    Descriptive info: This project transports the private space of the studio to the public space of the new foyer at LSAD.. Each week we are inviting a student, member of staff, or visitor to bring material from their workspace to the foyer table.. As well as offering the passing public insight into the creative process in general, this project aims to highlight the diverse range of creative strategies used by artists and designers.. Images.. The daily studio practice of artists and designers is normally hidden from view.. We are inviting practitioners in all fields to provide an insight into their creative process by sending us an image of their work space.. This collection of images will be exhibited in our website gallery and used to commission work for the Table of Contents touring exhibition.. The Creative Process Audio.. Contributors to the workspace project were asked to write a description of their creative process.. The result, an audio work narrated by Neil Browne and Carla Burns.. In this project we are inviting students at all levels and from every discipline at LSAD to select and scan a page from their notebook.. Our aim is to produce a collaborative art work exploring the variety of ways in which the notebook /sketchbook/ visual diary is used by artists and designers to generate develop and record ideas.. Video.. ‘The Drawing Board’ is a team of architecture students from SAUL, the School of Architecture at the University of Limerick.. They were asked to contribute to the Table of Contents exhibition.. The exhibition curators from LSAD, the Limerick School of Art and Design, are looking for an indoor installation to facilitate the viewing of a short documentary film.. The conception and design of this installation will become part of the exhibition as an exemplar of architectural creativity.. The Drawing Board Blog.. The Drawing Board Process PDF.. The public are usually presented with finished works and are unaware of the diverse strategies used to develop ideas.. Table of Contents provides insight into the creative mind by presenting new work from a range of  ...   dream seriously.. Contributors work with abstractions like truth and fear.. The Turbine Hall is occupied by cars, carcasses, sharks and poltergeists, by energies of the mind.. Some of the proposals could be realised, others deliberately go beyond physical or practical realisation.. The proposals have a rhythm: assertive, tentative, confessional, triumphal, poetic, manic.. The book was launched at The Small Press Book Fair, London 2011,.. Temple Bar Gallery + Studios, Art Book Fair, Dublin, 2011.. Ormston House, Limerick 2012.. The Crawford Gallery, Cork, 2012,.. with a live sound piece by.. Softday.. Available from.. Download Sample Pdf.. Proportional Analogies.. An on-going project devised for the Table of Contents project.. Through a series of studio visits, discussions and written texts, curator Mary Conlon and artist Damien Flood have worked together on two publications of image and text coinciding with solo exhibitions by the artist at Green On Red Gallery, Dublin.. This text, From The Opaque (After Calvino), is one of three texts (the others by James Merrigan and Saskia Vermeulen) written for The Spectral Gallery and published on the occasion of The History of The Visitation in November 2011.. In September 2012, Damien will present a solo exhibition The Theatre of The World at Ormston House, Limerick.. The third installment of this written component continues to reflect both Conlon and Flood’s blurring of fact and fiction and interests in the history of belief systems.. (Image Damien Flood Still Life, 2012 Oil on reversed black primed canvas 151 x 127 cm).. From The Opaque.. 12 Notes.. Gareth Jenkins / Brendan McCarthy / Colin Kelleher / Daniel Keane / Alan Keane /Junk Ensemble / Not Squares / Brian Hegarty / Jan Frohburg of The Drawing Board / Conor Masterson / Peter Morgan / Richard Williams.. 12 creators from different disciplines including science, design, photography, film, architecture,music, dance and art were invited to submit an image as part of the table of contents project which shows the activity of the creator’s mind.. their submitted images were then adapted to the medium of print to make up this limited edition box set..

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  • Title: Limerick School of Art & Design
    Descriptive info: Wolf Lorien.. "Toward an Ethical Portrait: Development of Dialogical Audio-Visual Representation of the Sitter".. In her book ‘Conversations before the End of Time’, Suzi Gablik comments that “…the move away from autonomous art – art that is cut off from any social or communal definitions – is happening whether we like it or not, and is bringing about a very different relationship between artists and the public sphere.. Gablik, Suzi.. Conversations Before the End of Time.. Thames and Hudson, New York.. 1995 Intro.. P30.. Laura McNamara.. There are many things about the earth that we know nothing about.. For example, less than 10% of the ocean has been explored.. Science is the catalyst for our understanding of the world around us.. In about 1685 a German scientist called Godfried Willheim Leibniz wrote,.. “There is nothing monstrous in the existence of zoophytes or plant animals.. on the contrary it is wholly in keeping with the order of nature that they should exist.. ”.. 2009, through experimentation, scientists discovered a sea slug which can produce its own chlorophyll; therefore it has the ability to perform photosynthesis and make its energy directly from the sun.. “Novelties come from previous unseen association of old material.. To create is to recombine.. I have taken this idea of a plant animal and imagined this evolutionary process continuing.. My bio-morphic creatures are being examined as we try to make order out of our random world.. Maurice Reidy.. My approach to my work makes use of documentary methods.. I study the discourse by examining the issues.. I began to ask questions.. What and where are our secret Spaces? Where do our rights of passage take place? And what are the spaces that allow for their own discourse? For example water and cleansing something relate to the purifying of the soul (I chose the bathroom as my documentary surrounding).. I used this space as a method to penetrate the domestic situation.. I wanted to create a non-explicit narrative, focusing on the moments “in between.. ” Using only traces of my life to fill-in the unanswerable questions of the “mysteries of my life.. Even though my work is autobiographical to a point, I want to leave “narrative certainty” to the viewer.. Even if narrative is not potent in the work.. Nigel Oxley.. In common with most poets, the process of creation usually commences at a point of recognition, understanding or sensation.. Ideas and feelings are phrased into rhythmic patterns which convey the tone and content I intend to share.. As represented in the table layout, the cerebral and affective elements are fused slowly together over a period of lengthy refinement.. Jottings become linked statements, statements are bound into an appropriate rhythm and at varying points, imagery emerges to animate or even inform the  ...   would happen.. In working with plaster forms, it allowed me the opportunity to continually develop my ideas which lead me to create various sizes of forms to create my contemporary ware.. Janus Stark.. Artist and Escapologist Lives and works in the border town of Port Bou in Cataluña.. “The Essence of Freedom” is the final piece of a lifework entitled.. Occam’s Razor.. What can you bring to the table?.. Mary-Clare Lyons.. On display are two hundred and twenty-one plastic cups, sixty-six of which are filled with water and acrylic paint, while the remaining one hundred and fifty-five consist of just water.. My palette is composed of six colours in total, they being the three primary and three secondary colours.. In essence, I physically constructed an image using plastic cups, and by doing so, created an opportunity that allowed me to introduce the concept of colour within my practice in a very simple, yet playful and experimental manner, and consider the crucial role it can play in the construction of an artwork.. This piece, with the use of temporal material, such as the plastic cup, which is synonymous with ephemerality and disposability, promotes the notion of process lead methodologies and provisionality within artistic production.. [Provisionality being a tendency within artistic praxis where permanence, durability and finish are being rejected in favour of a more temporary, preliminary and makeshift aesthetic.. Michael O'Brien.. I'm not bothered.. Steve Maher.. I Look Down On You Because I Am Falling From A Great Height (2010).. One lone figure leaves his car and climbs a mountain; this journey is the figures ascension.. At the breach of this mountain there is a stairway which alludes to an even higher place.. The function of the stairway is undeclared but arguably emphasises the impressiveness of a possible descent.. Our hierarchal aspirations for power, our ascent which we laud and venerate are finite and destructive.. In this way all ascents are descents, what we contemplate on this precipice is….. Margaret Curtin.. I am fabricating rough once-off light porcelain tactile slabs, using a raw spontaneity I’m seeking due to brief time lapse between conception and completion of piece.. They are drawing from a range of rural shots of home farm, prompting cursory sketches.. They are overlapping the tentative ephemeral hinge between nocturnal darkness and dawn, echoing delicate traces of torn melancholy, faint evidence electing fleeting transi.. Caitríona McCarthy.. Brief: Persil fashion awards 2070.. “White with a touch of glamour and a hint of colour for the fashionable Irish woman”.. ”My inspiration: Aubrey Vincent Beardsley, an “extravagantly praised and extravagantly hated man, a an whose eccentricities developed his character and workings in art”.. His variability in his work is coupled with an extraordinary versatility that changes his style and adapts to new ones.. Return to Projects..

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  • Title: Limerick School of Art & Design
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  • Title: Limerick School of Art & Design
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  • Title: Limerick School of Art & Design
    Descriptive info: Tom Fitzgerald.. Tom Fitzgerald is an artist living in County Limerick.. He was Head of Sculpture in Limerick School of Art & Design until 2000, when he took early retirement to pursue his own work.. His work practice includes drawing, painting, sculpture, installation and temporary environmental interventions.. He has exhibited widely in Ireland and abroad.. He was elected to Aosdana in 2001.. A team of architecture students from SAUL, the School of Architecture at the University of Limerick, was commissioned to design an indoor installation to facilitate the viewing of a documentary film as part of the Table of Contents exhibition.. The conception and design of this installation was to become part of this exhibition project on creative practice as an exemplar of architectural creativity.. – ‘The Drawing Board’ are Edel Murphy, Diarmuid O’Súilleabháin, Adrian Clery and Jan Frohburg.. Taking inspiration from the many depictions of St Jerome in his study, the Drawing Board proposes creating a ‘room within a room,’ a situation that induces focused attention whilst maintaining a tensioned balance between the imposing presence of LSAD’s Church Gallery and the intimate experience of watching artists’ creations unfold before your eyes.. The proposed intervention intends to remove the viewer from the simultaneous confines of the white-walled exhibition space and the former church, and to provide a distinctly different sensorial experience that allows the space to be viewed in a new way.. Set out to control movement, to arrest the visitors’ wanderings through the exhibition the installation guides them around and up into the viewing space.. Aiming to create a threshold situation rather than containment, the design explores possibilities of a raised platform in combination with a suspended or transparent envelope.. With an interest in slowness comes attention to detail and texture that informs the choice of materials.. The design engages materials that combine apparent lightness and sensuality with an assertive strength vis-à-vis the eclectic church interior.. – With the project limited to a minimal budget, the design takes recourse to using borrowed materials and rendering an elementary spatial condition by defining two sides of an enclosure and the floor.. Anastasia Artemeva.. “My current work, Neither Here Nor There, deals with the subject of memories and, being a foreign student in Ireland, I have become concerned with the feeling of homesickness.. As I can talk to my friends and family over the phone and it is possible for them to visit me, I can fulfil the need to communicate with them.. Still, there is something that I miss about my Motherland.. Being put into a different environment, I miss my hometown, the street where I grew up, the school I went to and other places that have a significant meaning to me.. By collecting videos of places that are dear to me, I attempted to recreate a feeling that I am at home still being in Ireland.. Anastasia Artemeva is a third year Sculpture and Combined Media student at Limerick School of Art and Design.. Originally from Russia, Anastasia has been living in Ireland for the past six years.. Her work was exhibited at various college exhibitions and also at the RDS student Awards travelling exhibition.. Christopher Boland.. Chris Boland lives and works in Limerick.. He is a recent graduate of the Limerick School of art and design and a founding member of Faber Studios.. His current work explores drawing and writing as part of his sculptural practice.. Elaine Flannery.. “I am concerned with the materiality of the materials that I employ; their potency or potential as mediums, whether it is the pooling of ink as it dries on cartridge paper or the print left on raw clay as the print is registered upon it.. I am interested in how my actions can suggest an encapsulation of an action or event.. A recurring theme within my practice is the use of multiples, structures, and repetitions.. I find myself continually revisiting previous work, taking new elements and relocating them by putting them back into my points of origin.. The role of memory and the central role our body plays in our understanding of time makes it possible for us to simultaneously experience the past and present  ...   up a city.. I aim to create factitious representations of broken spaces, to alter histories and when appropriate, establish feral territorialisation between temporal boundaries and interruption.. I use installation, drawing, video and noise to extrude the social footprints in manscape and present a distorted sense of reality.. Keith Winter lives and works in Belfast.. He has recently shown work in Bahrain, Belfast, Brisbane, Melbourne and New York.. Future shows include working with Catalyst Arts in June 2011 and Chiyoda 3331 in Tokyo in November 2011.. Download Exhibition Showcase (PDF).. Press Release.. Table of Contents L.. S.. D Gallery, 22nd October – 12th November.. The public are usually presented with finished works and are often unaware of the diverse strategies used to develop work.. Table of Contents offers insight into the creative mind by presenting new work by a range of artists, architects and scientists.. Anastasia Artemevia, a foreign student studying in Limerick, collects videos of places that are dear to her in an attempt to recreate a feeling that she is at home while being in Ireland.. The work Neither Here Nor There, deals with the subject of memories and homesickness.. The work in the exhibition explores the relationship between drawing, writing and his sculptural practice.. Elaine Flannery is an Irish artist, currently based in Wales.. She is concerned with the materiality of the materials that she employs; their potency or potential as mediums, whether it is the pooling of ink as it dries on cartridge paper or the print left on raw clay as the print is registered upon it.. She is interested in how her actions can suggest an encapsulation of an action or event.. The drawing exhibited describes and unrealizable plan to construct a 200km high glass tower in Ireland.. Gareth Jenkins, currently living in Dublin, shows a collection of new objects, paintings and drawings which represent a variety of unrealized works in process.. Jenkins process led practice, or at least its inception, is predominantly multidisciplinary, involving photography, sculpture, drawing, model making.. These visual stimuli inform his research into color, form and linearity, allowing him to construct concepts of architectonic paintings and sculptures.. His work plays with the production of space and the social architectures that make up a city.. He aims to create factitious representations of broken.. spaces, to alter histories and when appropriate, establish feral territorialisation between temporal boundaries and interruption.. He uses installation, drawing, video and noise to extrude the social footprints in manscape and present a distorted sense of reality.. Mary Clare Lyons, a recent graduate of Limerick School of Art and Design, responds to Nicolas Bourriaud’s text, Radicant.. Bourriaud defines radicant as “setting one’s roots in motion, staging them in heterogeneous contexts and formats, denying them any value as origins, translating ideas, transcoding images, transplanting behaviors, exchanging rather than imposing”.. A commissioned documentary by Daniel Keane will be screened.. The film explores the creative practices of visual artists Tom Fitzgerald, David Lilburn, Fiona McDonald, composer Benedict Schlepper Connolly, the Junk Ensemble and botanist Colin Kelleher.. Edel Murphy, Adrian Clery, Diarmuid O Súilleabháin and Jan Frohburg of The Drawing Board were invited to make a proposal for an architectural intervention in the gallery.. The creative strategies employed by the architects are demonstrated though research notes, sketches, plans and models.. An installation of salvaged desktops forms a tribute to a decade of spills and thrills at Limerick School of Art and Design.. In addition to featuring the practice of the selected artists and designers, The Table of Contents committee seeks contributions from the wider art and design community and from the general public.. Visitors to the exhibition are invited to make their own contribution to the wall of scans, a live collaborative work derived from sketchbooks and research imagery.. A limited edition print of workspaces and text on the creative process edited by Judy Kravis marks the contributions of 92 artists and designers to an online research project, Workspace.. An audio work exploring their creative process is narrated by Neil Browne and Carla Burns.. Table of Contents is commissioned and curated by Alan Keane, Róisín Lewis and Peter Morgan.. The exhibition forms part of an Incubation project funded by SIF..

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  • Title: Limerick School of Art & Design
    Descriptive info: From the Opaque (After Calvino).. Hidden in a wrinkle of the universe must be another Earth-like planet.. As distant from the speculative hypotheses of the ancient Greeks gazing at the night skies, sophisticated satellite technology has been positioned in outer space to track hundreds of known planetary systems, borne of the detritus of stars.. Using light sources from close-by celestial bodies and transmitting images at regular intervals via a 956 megapixel detector, scientists film a stop-motion sequence, recorded in the largest photographic studio in the cosmos.. This behind the scenes of the solar system footage provides an insight into the discoveries and potentialities of the process.. The purpose of the study: to observe the movement and behaviour of other systems, to discover a terrestrial twin that will expand the scope of imagination, to mess with the natural laws of evolution.. In 2011, supernova PTF 11kly will present a once-in-a-lifetime spectacle of self-destruction visible from the Earth.. Monitoring astrologists have detected the phenomenon many light years away hurling matter into space, knocking Atlas from the mountaintop as he held up the great dome of the heavens on which the constellations were fixed and sending shockwaves throughout the ever expanding galaxy.. Our revels now are begun.. / The great globe itself / Yea, all which it inherit, shall assemble.. / This is such stuff as planets are made on.. For about a month, stargazers will have the chance to observe the brightest explosion of the century - a bluish-white blip in the twilight sky.. If they had asked me then what the shape of the world is,.. and likewise if they ask me now what shape the world is,.. Space Invaders.. For a thousand years, men in search of heavenly headspace have travelled to the Holy Peninsula of Northern Greece, cut off from the rest of the world by a rugged terrain, a natural barrier against the outside influences of contemporary experience.. Removed from society and earthly distractions (women), they lead a low-tech, cloistered existence - the monotony of a quiet life stimulating a desired state of mind.. These monks (from the Greek.. monos.. meaning single) live alone in rustic cells or collectively but detached from one and other, like spectres digesting death before it digests them.. There are varying degrees of resistance and refuge on this spiritual path to timelessness but modernity is seeping through the once-impenetrable walls of the monasteries, catching those who have dropped out of life.. Despite.. Despite the explicit rejection, the outside world has become inescapable, slowly invading this dislocated jut of land, with roads and telephones and the Internet.. Even people.. The governing body must grapple with the contradictions of self-imposed isolation and communicating beyond their closed community, which has caused a split with a faction of renegade monks hell-bent on protecting their radical choice of solitude and independence.. The compromise they must equate with conformity.. They will not be seduced by the thought of a more comfortable life.. And all this for a connection to a collapsed God.. And yet the sacrifice is understandable.. Among these monks are painters, musicians, writers, researchers - creative practitioners with a commitment to something lost, to meditations on the unknown, to the non-existent seminar or the holy of holies, the room () where mystery dwells.. These are artists and scholars who have dedicated their lives to work that was never made, to lessons never taught, to images or sounds only imagined.. And as democracy slowly loses meaning, we must remember to protect these minorities lest.. Our little life / Be rounded with a sleep.. Is the disobedient monk any more unusual than the man in the city, plugged in and spazzed out? Or the scientist searching for another Earth? As Rilke warns the young poet: A man taken out of his room and, almost without preparation or transition, placed on the heights of a great mountain range, would feel something like that: an unequalled insecurity, an abandonment to the nameless, would almost annihilate him.. He would feel he was falling or think he was being catapulted out into space or exploded into a thousand pieces.. Perec s Apartment.. I put a picture up on a wall.. Then I forget there is a wall.. I no longer know what there is behind this wall, I no longer know there is a wall, I no longer know this wall is  ...   small room where he goes every day to eat his lunch.. A chair is tucked in under a square table and there on the wall above, hangs the painting.. Then.. our actors / As I foretold you, were all spirits, and / Are melted into air, into thin air.. The forgotten painting is removed and returned to storage.. A note on the text.. In.. The Hero with Four Faces.. , Daniel Miller proposes an ekphrastic approach to art writing: The unconventional shape of this text reflects an effort to develop strategic techniques beyond the theoretical disposition that I believe is now exhausted.. What {precedes} is an experimental report, recording a series of partially explored possibilities.. The ambition was (and remains) to create a form of hybrid-writing, somewhere between philosophy and fiction.. He includes a typological sketch in which he does not believe, but which came to him one night, in the interests of balance.. So, poesis and praxis are parallel lines in the Euclidian tradition, running side by side but never meeting.. In September 1985, Italo Calvino published an ekphrastic text on painting in Artforum describing the arrows in his mind indicating the mechanism of meaning.. The shape of his world was so many broken and oblique lines pointing to ideas and outlining thought processes.. In his Harvard lectures, Calvino explains how did not yet consider theoretical questions when he began to write fantastic stories; the only thing he knew was that there was a visual image at the source of all his stories.. One of these images was a man cut in two halves, each of which went on living independently.. Can we accept that theoretical questions and creativity are mutually exclusive? Could an attempt to separate them merely be the result of Western metaphysical logic, which dictates that everything must be interpreted in terms of binary oppositions? Like a man cut in two halves.. Later in life Calvino would re-edit his work, cutting from earlier texts and adding to the more recent.. The reader activates the lazy text either interpreting the stories or simply reading them for enjoyment.. He agreed to the work being read as existential or as structural, as Marxist or neo-Kantian, Freudianly or Jungianly, satisfied that no single key would turn all the locks.. We are not fooled into believing that works of art are reality but recognize elements of our own experience that cause the representation to seem real.. Without them we are like the caretaker who lost his window onto the world.. Biographies.. Mary Conlon.. is a curator based in Limerick.. From 2007-2009, she was Gallery Manager of Green On Red Gallery, Dublin and from 2009-2011, she was the Shinnors Research Scholar at Limerick City Gallery of Art, where she initiated the on-going Six Memos project.. She is currently undertaking a PhD in curatorial studies at Limerick School of Art and Design.. She is Director of Ormston House (est.. July 2011) and a member of the Italian curatorial project vessel and of the board of directors of eva International.. ormstonhouse.. com.. Damien Flood s.. work is situated between fact and fiction.. The paintings are modern landscapes that reference the history of painting with an underlying fantastical element.. A fleeting familiarity can be found in the work that is soon replaced by an ambiguous questioning.. Gathering imagery from varied sources, the artist is particularly interested in the research trips of the nineteenth century that explored the oceans and 'new territories'.. The illustrations gathered on these voyages evoke an otherworldly feel; although they are of actual plants and creatures, they contain a mystery and scepticism.. It is this notion of the undiscovered, the other, the foreign landscape that Flood searches for within his practice.. Damien graduated from the MA in Fine Art, NCAD in 2008.. He immediately was selected to exhibit in the John Moores contemporary painting exhibition in Liverpool followed by the Saatchi Space in London during Frieze 08.. Since then he has been in numerous other group exhibitions including Three at Theodore:Art New York, Futures 10 at RHA, Unbuilding at the Mermaid Arts Centre, Anopseudonymous in Five Hundred Dollars Gallery, London.. He was shortlisted again for and exhibited in the John Moores Contemporary Painting Prize exhibition in 2010.. In 2011 he was shortlisted for the Focus Abengoa Painting Prize in Seville, Spain.. He is represented by Green On Red Gallery, Dublin.. greenonredgallery..

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  • Title: Limerick School of Art & Design
    Descriptive info: Dialogues (rough cut):.. Film maker Daniel Keane presents a rough cut of a film documenting the artists’ studio.. The Creative Process:.. Four students from the Limerick School of Art Design discuss the processes they implement when creating works of Art.. December 2009.. SCAN: Install and De-Install.. Scanned images derived from students sketchbooks and  ...   from the table of contents exhibition.. Artefact of Thought is an explorative glimpse into the substance of artistic process.. Seven subjects, active in diverse disciplines; from dance theatre to botany, are filmed and interviewed in an attempt to expose and present the practicalities and routines behind the creation of a piece of art..

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  • Title: Limerick School of Art & Design
    Descriptive info: Limerick Institute of Technology,.. Limerick School of Art Design,.. LIT Clare Street Campus,.. Clare Street,.. Limerick.. Tel: +353 61 208205.. Fax: +353 61 208584.. View Larger Map..

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  • Title: Limerick School of Art & Design
    Descriptive info: The Limerick Institute of Technology:.. http://www.. lit.. The Limerick School of Art Design:.. ie/LSAD.. The Observatory at Derby College:.. http://www2.. derby.. ac.. uk/theobservatory/..

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    Archived pages: 11