The following are recent graduates from Waterford Institute of Technology, Crawford College of Art and Design, Limerick School of Art and Design and the National College of Art and Design, who received the Imagine Exhibition Award. Their work's can be viewed at The Rogue Gallery and 3/4 Georges Street for the entire duration of the festival.
Chloe Tetrault Kearney is a multi disciplinary Cork artist and recent graduate of Fine Art from the Crawford College of Art and Design. She is currently Artist in Residence at Cork Sample Studios.
The practice is influenced by the philosophies and ideas of the Medieval alchemical tradition and the neoplatonic revival of the middle ages; The concerns of which were the mind-body problem, the unity of opposing forces and the reconciliation of dualism, as seen through the lense of the natural world.
Aesthetically, the artist expresses the material world of the elements, generally thought of as ‘fixed, solid, durable’ yet endeavours to coalesce these with the more ephemeral and abstract forces, such as mass, gravity and motion; knowable only through their interaction with the observable.
Both found in nature and used in ritual, salt (which chemically balances a base and an acid in perfect equipoise) was symbolic of the body in the alchemical tradition. The body was thought of as the material embodiment of the unknowable spirit, whose essence could only be understood through properties it revealed in its physical form. Through this analogy, the artist proposes the work as a portrait of embodied experience; of existing simultaneously as a corporeal being and a conscious observer.
My work focusses on the artwork as a process. It aims to examine the nature and influence of the unconscious, characterised by the individuals’ unique constellation of experiences, by fixing the course of its creation in the physical world.
Regardless of media there is a way of working, peculiar to the individual, which gives the work its quality. My work is a manifestation of a particular collection of decisions which are made in response to its environment rather than object divorced from its origins and its maker. It is an exploration of the journey rather than a fixation on the result.
While in the course of making, particular quirks can come to light which may receive emphasis. Of particular interest to this artist is the blackly comic nature that often results when the knock on effect of one decision on the next is embodied, giving a glimpse of the dark hilarity that infects mortality.
At this current time, I am predominantly working in sheets of aluminium. I cut, fold and bend the sheet metal to achieve structural, linear objects resembling flowers. One of the main concerns of my work is to give the illusion of a flower bud blossoming over time. Surface decoration and colour also play a big role in the work. Using spray paint to decorate the pieces in such a way that certain folds in the metal are almost dulled, contrasting with other deliberately complex folds.
My interest lies in the rubbish that is polluting our marine environment. My principle research is exploring the intertidal zone for the flotsam and jetsam, focusing on the details that relate to my concept and interests. Through the medium of photography I document these found objects in situ or in studio, the resulting imagery I translate into print format, creating an abstract representation.
In drawing I try to capture the intangible, ephemeral moments while concentrating on the human body. I draw with the same three models and it is the personal connections between them and myself that motivates the marks in the work. Using a mix of media, blind drawing, layering and reworking I suggest the models form and character and reflect the energy created from time spent with the person. In doing this I aim to create an authentic impression of this group of people by showing a narrative of my own perception.
I draw on memory, such as imprints, traces, and residues as inspiration. My research involves deserted spaces, their interiors and exteriors. Ephemeral atmospheres are created via obscured, layered and cracked surfaces. Themes of growth and transience are linked to memory, such as nature taking back over abandoned places.
Process and craftsmanship is important to me, both aesthetically and as references to memory. Working in and combining different materials allows for a broad consideration of concepts. Growth is also as a function of making, such as the development of ideas, processes and skills. To develop the idea of growth through making, I have recently used living plants, mosses, and flowers, to continue to transform the made work.
The issue I raise in my work is the meaning of the ancient distinction between ZOE, the natural, reproductive, animal life; and the BIOS form of life which is the political and social life in the context of the contemporary philosopher, Giorgio Agamben. I am transferring the difference between BIOS and ZOE. I ask the question here:
Is it the human or animal?
Sacred or profane?
The physicality of my own body is the devising liminality where, in the silent connection of shared experiences, I can become a catalyst for transformation to myself and to the audience. The universality of my language comes from authenticity and intensity of presence, in an attempt to belong that can not be accomplished in daily life. I am an immigrant, a feminist, an anarchist.
Physical endurance and Repetition are the mediums for my work. I investigate the dynamics of the human condition, in the connections to each other, to society, gender and class, to create transitory and ritualistic Live Experiences.
KILLING YOUR DARLINGS
Killing your Darlings focuses on the death, abuse, violence and suffering endured by children in our society. My work was particularly influenced by the horror surrounding the recent Tuam babies scandal. Innocent babies and children taken from their mothers, their bodies discarded or lives permanently scarred
The work examines the role of women within the porn industry and the pernicious effect of the male gaze. Porn viewers usually do not care for something or someone so intangible; it’s a fantasy.
The work’s materiality combines a delicate and rigid aesthetic. Both elements are symbolic of porn’s online presence. Delicate throw-away material such as paper exemplify it’s over saturation whilst the work’s hard exterior represents its permanency.
I wish to expose vernaculars of sexualisation. I make the viewer a proxy, part of and complicit with the act. The audience is presented with an ethical question that is reinterpreted by each individual viewer.