As part of my proposal entitled “Making time for disappointment: exercises in normalizing creative expression in a working environment” I hope to work with the staff and students at UCD College of Business to develop a practice of making, showing and discussing art as an ordinary part of working life.
I will use the mediums of E-mail, Video, Photography, Clay, Sound and desktop based Drawing Programs as well as stickers and posters to develop a body of work, individually and in collaboration with staff and students in the UCD College of Business.
In her book, Artificial Hells (2012), Claire Bishop cites Dan Graham saying:
“All artists are alike, they dream of doing something more social, more collaborative, and more real than art. This is part of my dream”
My interest in working with the College of Business in UCD stems from a desire to investigate art’s dream to be more than itself, and the relationship that dream has to commerce, and ideas of success.
I am interested in developing wider definitions of economy though both my studio practice and interdisciplinary exchange, particularly in the areas of behaviour and organizational studies at UCD College of Business.
Through consultation and intervention, I want to explore the extension of concepts of value into the intangible realm of human feelings, as people endeavour to not only sustain themselves but “be” themselves in their working life.
Through the development of creative workshops that disrupt or intervene in the workplace, I am interested in discovering how creativity and indeed disruption could be integrated into working environments as a means to increase productivity, innovation and happiness at work and how a culture of creative intervention might engender new responses to disappointment in the work-place.
In conjunction with this I am also interested in art’s disappointment with itself.
What I see as two contradictory yet coexistent demands of contemporary art which constrain how and what artists make.
The continuous institutional and internal pressure for art to do more than what it does and the economic argument that supports this persecution: that art as no real value relative to the time and resources needed to produce it and the contingency of popular taste on which its sale and commercial success depends.
Art’s concurrent reduction to a commodity within the art market as one of the most unregulated economies in the world. Within this universe art is no longer “made” but “organized”, that is, its value is constituted by circulatory and distributional conditions and criteria rather than material or productavist needs.
Through my 12-month residency at the UCD College of Business I propose that an exit from both these toxic commercial and social economies might take the form of a kind of naturalization rather than a valorization of art’s practice into daily life – a clandestine approach that both undermines art’s authority as vocational and unattainable and dismisses its need to be more than it is.
I propose that this is achievable through the organization of a space and a time to fail and to disappoint daily, through routine material investigation and creative production.
My work explores the role of the artist in the production of affective dynamics between objects and subjects of attraction. Through investigations into mimetic, amateur, viral and regional methods of creative production I develop a practice of film, performance and sculpture making. This practice in turn forms part of an investigation into the possibilities, limits and possible exit points from contemporary art. By exposing myself and my work to the contingencies of collaboration my work seeks to catalyze its own innovation. Through the formation of relationships with other art-forms and practitioners working outside the orbit of the art world, I try to test the capacity of my work to free itself from aesthetic and cultural enclosure and interrogate the origins of my own self-censorship through displacement and negotiation to produce new models of what art can be.
Some of my recent projects include: Breaking Emmet's Block a public art commission for South Dublin County Council, Conjuncture In-Film, VC Ten at The Showroom Gallery, London, Affective Vectors, a Performance for The World is Almost Six Thousand Years Old at The Collection & Usher Gallery, Lincoln, Vector/Attractor, a solo exhibition, for The Return Gallery, at Goethe Institut Dublin, A Maguffin and Some Other Things, at the Project Art Centre, Dublin, Circling the Square for Gracelands, at The Milk Market, Limerick City, Worlds Combine #1 for EVA International, Limerick City, Units of Potential For The Lir Academy Dublin, This is Going to Take More Than One Night at The Model Niland Gallery, Sligo, Straw Boy Stories, Gracelands, Dromahair Co. Leitrim, Multiple T for The Floor of the Forrest at The Barbican Art Gallery, London and Resonance#1 a commission for Resonance FM at Frieze Art Fair, London.
1.Units Of Potential (2011) Fiberglass, Steel, Public Sculpture, The Lir Academy, Trinity College, Pearse St. Dublin 2
2.Conjuncture In-Film (2015) Still Image from Video, 06.40mins, The Showroom Gallery London.
3.An Impossible Tribute (2009) Still Image from A film commissioned as part of This is Going to Take More Than One Night(2009) 2.21mins.
4.OnePlate (2012) Digital Print, Graphics, Billboard poster, Roches St. Limerick City, 300x310cm, EVA International, Limerick.
5.Petrosphere (2012) Clay, Dye, Fabric, 80x50cm,The Project Art Centre, Dublin (1).jpg
Links to Video work
An Impossible Tribute(2009) The Model Niland Sligo, 2min extract:
Interpret/Attractor(2013) The Return Gallery, at The Goethe Institut Dublin, 3min extract:
Internal Technologies (2012) Project Arts Centre, Dublin, 1min extract:
Worlds Combine #1(2012) Eva International Limerick City, 1min extract: