Portal Ahead! (now entering) by Olivia Normile, 11th – 14th October, 2018.
Portal Ahead! (now entering) by Olivia Normile, 11th – 14th October, 2018.
Join us on Tuesday 16th October at 7pm for an evening of talks by shortlisted artists from our Graduate Award, Ashling Smith and Emma Hopkins, alongside Graduate Award Recipient, Olivia Normile. This is a free event.
Ashling Smith is an emerging Digital Media Artist and Creative Designer whose practice encompasses video, photography, sound and sculpture. She graduated in 2018 with an Honours Degree in Creative Digital Media from the Institute of Technology, Blanchardstown. Her degree show ‘Vision’ attracted particular attention and won her Draíocht’s inaugural ‘Creative Digital Media Award’ which will lead to a solo exhibition as part of ‘Platform 2019′ in Draiocht. Primarily concerned with a combination of digital media and large-scale sculpture, Ashling’s practice incorporates still and moving imagery, sound, and vocal testimony, She is interested in gathering personal narratives that explore the boundary of the real and the imagined in relation to specific communities and places. Interviews and conversations with people working in various professions become a catalyst for developing digital installations that explore the relationship between time and memory, place and identity. Her work is immersive and meditative.
Olivia Normile graduated with a BA in Visual Arts from IADT in 2018. She was longlisted for the RDS Visual Arts Awards and is the recipient of the Ormond Studios Graduate Award 2018. Olivia’s work explores the space and boundaries between image, object and idea. Surface tensions recur in her work evident through a rough, agitated quality to edges and appearances. Through combining handmade objects with animated forms of themselves, she attempts to expose an unseen tension and quiet dialogue between the definite and unseen. By capturing the motions of making and transforming them into solid ‘stills’, she reveals lone moments within a process. In turn, private environments and passageways form for these animated moments to exist and survive. Developing an affinity for unassuming yet prevailing characters in various narratives, she is drawn to the influences they have on their surroundings. Somewhat lowly, humble creatures who contain traces of divinity, existing on the threshold between reality and unknown depths. This dialogue between the physical and the fleeting is revealed through repetitious mark-making, extracted to become singular and static.
Emma Hopkins’ work explores the everyday spaces we inhabit and the spatial practices we produce in them. It arises from her interest in how architects and planners think about space in three dimensions. This has lead to the creation of installations that adapt and change in scale depending upon the interior architecture of a particular place. Emma also use photography to document different spaces, domestic and industrial. This is an aid for the structures she creates which use the language of painting to communicate elements of interior and exterior spaces. The idea of ‘construction-deconstruction-reconstruction’ is an important part of her work as each society is producing and reproducing space to meet new needs and functions. Therefore, she is interested in how language is used to describe specific spaces and spatial practices. Language also allows us to imagine the body in a space. As there is already a mental image associated to the word ‘kitchen’, for example, there is an expectation of how such a space is used: how our bodies move around that space, the specific objects and structures inhabiting this space. Emma sees all of these elements as contributions to what she calls “performing space”.
“…a tension between an object as it is used ‘unthinkingly’ in an everyday manner and the real, contorted, always-beyond-our-reach object hiding underneath the surface of everyday use”.
(Brian Willems, Shooting the Moon)
Ormond Studios are pleased to present Portal Ahead! (now entering) the first solo exhibition by 2018 Graduate Resident Olivia Normile. We would be delighted if you could join us for the opening reception on Thursday October 11th from 6pm – 9pm. The exhibition continues from Friday 12th – Sunday 14th from 12pm – 5pm daily.
Olivia Normile graduated with a BA in Visual Arts from IADT in 2018. She was longlisted for the RDS Visual Arts Awards and is the recipient of the Ormond Studios Recent Graduate Residency Award, 2018.
Olivia’s work explores the space and boundaries between image, object and idea. Surface tensions recur in her work evident through a rough, agitated quality to edges and appearances. Through combining handmade objects with animated forms of themselves, she attempts to expose an unseen tension and quiet dialogue between the definite and unseen. By capturing the motions of making and transforming them into solid ‘stills’, she reveals lone moments within a process. In turn, private environments and passageways form for these animated moments to exist and survive.
Developing an affinity for unassuming yet prevailing characters in various narratives, she is drawn to the influences they have on their surroundings. Somewhat lowly, humble creatures who contain traces of divinity, existing on the threshold between reality and unknown depths. This dialogue between the physical and the fleeting is revealed through repetitious mark-making, extracted to become singular and static.
The current graduate themed issue of the Visual Artists News Sheet features an article by associate studio member Chloe Brennan discussing the supports which artist-led spaces such as Ormond Studios can give emerging artists. The issue is filled with lots of great advice for recent graduates and you can grab a copy from any local arts space!
Ormond Studios is delighted to welcome Olivia Normile to the studios as the ‘2018 Ormond Studios Graduate Award Winner’. As part of the award, Olivia will complete a mentored residency at Ormond Studios for the month of September and present a solo exhibition and artists talk in October.
Olivia is a graduate of the ‘Institute of Art, Design and Technology’ (IADT), Dun Laoghaire. Her work explores the space and boundaries between image, object and idea. Surface tensions recur in her work evident through a rough, agitated quality to edges and appearances. She is drawn to materials that only allow her to have a set level of influence over them, while still holding their integrity and traces of their own fabrication. Through combining handmade objects with animated forms of themselves, Olivia attempt to expose an unseen tension and quiet dialogue between the definite and unseen. She captures the motions of making and transforms them into solid ‘stills’, showing lone moments within a process and often creating private environments for these animated moments to exist and survive.
Ormond Studios is pleased to announce Olivia Normile as the 2018 Ormond Studios Graduate Award Winner. Olivia is a graduate of the Institute of Art, Design and Technology (IADT), Dun Laoghaire. We look forward to welcoming her to the studios in September for a month-long residency that will include mentoring and feedback sessions and will culminate in a solo exhibition in October.
Ormond Studios would also like to thank all the applicants who applied for the award this year!
TUESDAY 14 NOVEMBER 2017 | 19:00 | 4 ORMOND QUAY
Join us for the third in our 2017 series of talks with emerging Irish artists.
This event will feature shortlisted artists from our Graduate Award, Cará Donaghey and Aideen Farrell, alongside Graduate Artist Residency Recipient Hannah Bloom.
Please note this event is free but registration is required.
Hannah Bloom’s practice is interested in combining the digital with the material, and finding a way to unite these parallel worlds. Thinking sculpturally, physically and through making, the artist infuses the work with digital media to give it life. Every material responds to being handled in a completely different way; control is always limited by the characteristics of the medium. Bloom embraces this, by having a systematic approach to making work; she has always been drawn to a process which involves setting up a system and allowing the aesthetic outcome to be decided by the material itself, time and the conditions that she has provided. Bloom’s main interest lies in the blurred lines that exist between science and art. Her belief is that science is a means of generating feelings of wonder in relation to an artwork, and that art exposes the mystery and magic in science.
Cará Donaghey is a multi-disciplinary artist. Originally from Donegal, she has been based in Dublin since 2014. She is a graduate of NCAD with First Class Honours in Fine Print and Visual Culture. Cará is this year’s recipient of Black Church Print Studio’s Graduate Award and is undertaking her year-long membership of the studio at present.
Working with the term ‘the archive’ in a flexible and contemporary sense, Cará’s current work focuses on the operative aspects of archiving – collecting, preserving, and mediating images, drawings, and objects. Photography and printmaking are a grounding point of both ‘the archive’ and Cará’s practice. She is interested in the emotional resonance of place, drawing on her own and other’s experience in an attempt to articulate non-specific memory and history.
Aideen Farrell is a Dublin based installation artist whose practice explores the processes that shape urban space. Using a combination found materials, wood, metal, wire, thread, drawn lines and text, she investigates the influence of the abstracted symbols of mapping and place marketing over the physical spaces they represent. Her temporary installations draw on the appearance of scaffolding and makeshift construction to create navigable three-dimensional drawings that react to existing spaces. Her work interrogates the power to shape and divide our surroundings.
Aideen is a recent graduate of the National College of Art and Design with a BA in Fine Art Painting and Visual Culture. In 2017 she was awarded the Fire Station Graduate Sculpture Award and highly commended in the undergraduate awards visual arts category. She also recently exhibited in the Graduate Show, Symbiosis, at the Catalyst Arts Centre in Belfast.
Images courtesy of (L-R) Aideen Farrell, Hannah Bloom, Cará Donaghey
Preview: Thursday 7th September: 6 – 8 pm
Gallery Opening Times: Friday 8th – Sunday 10th, 12 – 4pm
Ormond Studios are pleased to present What We Thought Was Ebbing Was Actually Flooding, the first solo exhibition by Ormond Studio Graduate Resident 2017 Hannah Bloom.
The work’s thematic focus lies on the relationship between communities and the ocean, specifically from an Irish perspective. The artist focuses on seaweed as an integral element within the coastal ecosystem, while also embodying a canary in the coal mine for maritime pollution and maritime disharmony.
The tradition of seaweed foraging was once an activity that involved entire communities; people would gather, forage by hand, tell stories, sing and eat together. This process was also inextricably connected with death. High tides, stormy seas and freak waves would often overcome foragers, resulting in tragedy. In this way, the water provides livelihood and leisure, but must also be reckoned with as an unquantifiable source of power and danger.
“The sea came and lifted the heap and ourselves, and we were covered in seaweed. We barely had our heads above water, trying to keep the water out of our mouths. But we got away.” – Anon, Seaweed Memories: In the Jaws of the Sea, Becker. H (2000)
This ambivalent relationship is reflected in the contemporary context, with oceanic activity having become increasingly unpredictable. Man-made pollution threatens the stability of ecosystems, affecting ocean levels and temperatures, threatening to displace populations and contaminate the very food we consume. Renewed interest in the virtues of seaweed as a source of nutrition has prompted a demand for large-scale industrialised harvesting. This commodification threatens the ‘hands on’, and immediate relationship of Irish communities to this substance and raises issues around depletion and environmental destruction.
The destabilising of this natural balance is referenced in Bloom’s work through her use of organic materials. Culled from the coast of Mayo, the seaweed has been contextualised through manmade and new media, in an effort to reflect how human activity inadvertently distorts the natural and familiar into unrecognisable specimens.