Selected Works from the 2020 MA in Art & Process Degree Exhibition - COM,MA

Selected Works from the 2020 MA in Art & Process Degree Exhibition - COM,MA

Date: 14th Jan 2021 - 22nd Feb 2021
Time: WINDOW EXHIBITION - 24/7
Venue: The MTU Gallery at 46 Grand Parade
Cost:Free

MTU Crawford College of Art & Design presents

Window Exhibition of artwork by artists from the MA in Art and Process (MA:AP) Degree Exhibition 2020 at The Gallery at No. 46 Grand Parade, Cork City

The exhibition is displayed through the windows of The Gallery at No. 46 Grand Parade, utilizing the depth and display of the large window format and viewable from the street, and also in an online format.

Exhibiting artists: Catarina Araújo, Deirdre Breen, Padraic Barrett, Aoife Claffey, Seán Daly, Joe Fogarty, Inguna Mainule, Kate McElroy and Ida Mitrani.

The work is also viewable in an online format at: crawford.cit.ie/maap-show-2020

Despite having several interruptions this year the class of 2020 have continuously responded with tenacity and creativity, thinking up unique methods to display their work to the public.

COM,MA was open to the public for a limited time and capacity in December 2020, with the class delivering a powerful and thought-provoking MA show. On Culture Night they again utilised the unique location and format of the building, using the windows as mediators for video projection in an innovative engagement with the community. In the current time of mass closure, the class have again responded to deliver a carefully curated and considered exhibition for public viewing.

A comma is not a silence, But a time to act and to raise our voices through our creative endeavours. A comma is an invitation, Space to process conventional existence, A comma offers perspective to survey past, present and future, It helps to distinguish reality from noise, truth from illusion. A comma is a soft rupture...

 

Read on for more information including artists statements and images

 

1. Ida Mitrani, Human planteosmosis, 2020

Ida's Artist statement
My artistic concerns and interests are influenced by concepts and theories of plant culture in the current environmental crisis, including plant blindness, post-naturalism and hybrid materials .  The creative process explores the relationship and the interaction between humans, plants and technology, looking  at the function and meaning of weeds in today’s society.
By bringing the viewer’s focus to the vegetal world in an evocative and thoughtful way, I examine the symbiosis and conflict between man and nature while making the familiar more visible. Using an environment of textures, my  aim is to capture a memory of the present era that reflects the diversity and adaptability of life, and contemplates a vision of a possible new understanding of a ‘clean landscape’ where plastic is incorporated in nature.
The work is comprised of large and small drawing installations together with three-dimensional objects; mixed materials combined with plant-life forms; and layered digitised  images. Their positioning in unexpected places evokes the idea of reproduction, sprawl, growth and transformation within the natural world in contrast with the
stasis of non-degradable materials.
 
2. Catarina Araújo, Quântica - Two1, 2020

Catarina's Artist statement 
My art practice explores personal trauma, repressed memories, and behavioural patterns. The work develops an introspective connection between the body and past experiences that are accumulated beyond the mind and incorporated into bodily sensations, reactions and the perception of things.
 
Through engagement with film, printmaking and sculpture, I present fragments of a performative body in a frantic and intimate way, to extrapolate what is hidden within and what has been lost to oblivion. The obsessive repetition of the triangular form is drawn by an intrinsic desire to uncover new structures and to achieve equilibrium within them.
 
The work aims to stimulate dialogue and present art practice as an appropriate way to address psychological trauma through non-verbal self-expression and sensory knowledge.
3. Deirdre Breen, Bulge, 2020

Deirdre's Artist Statement
My practice raises questions about our place as embodied humans in the world and the ways we produce, reproduce and consume our material environment. I am exploring the presupposed meanings that we ascribe to matter, and the underlying perceptual structures that support these meanings. 
The work interrogates the idea of an assumed hierarchy of materials, looking at what is disposable and what is venerable, questioning the value of the mundane. In dialogue with disposable culture and commodity fetishism, the ordinary is transformed into the extraordinary. Colours reference trends and conventions of contemporary visual culture. 
The work suggests a vitality inherent in objects we consider inanimate; industrial and domestic materials are manipulated and redeployed to subvert our associations to their familiar qualities, confronting our understanding of our material reality. A gestural language emanates from the artworks; forms demonstrate object attributes and emulate personality but lack obvious functionality, existing for their illusionary qualities rather than a perceived use. A lively aesthetic speculates on the agentive power of ‘things’ so that a material imagination might unfold.

 

4. Kate McElroy, An Unfurling Unknown, 2020

Kate's Artist Statement
A layering of space and time, my work interplays found elements and photography. Traces of places,                      
                      remnants
     of
                                                                                                  spaces___
 
A sense of flux, capturing an environment that is in transit and transformation contrasted by a sense of presence and slow observation. I am interested in the intermingling invisible forces that shape our environments and actions.
 
I capture elements on the edge of abstraction, stretching the usual register of perception. I present an ambiguity, so the viewer has space to recreate and move beyond the visible. The work often implements an optical oscillation, subtly suggesting a reality that is not fixed, but malleable.
 
My work captures a place in process, simultaneously constructing and deconstructing. It highlights a betweenness, a binary, where definitive boundaries dissolve     .      .        .
                                    .                                 .                             ,  
Through correlating photographic processes and re-presenting materials often discarded and overlooked, I prise open a gap.
 
 An opening, to consider an alternative___

  

5. Joseph Fogarty, All that we are? ( I ), 2020

Joseph's Artist Statement
My work is an exploration of our relationship to objects. I am exploring this relationship in the context of a self-perpetuating consumerism that is one of the hallmarks of neo-liberalist economies. Our consumption of goods is facilitated through the promotion of brand and identity and is at best a manipulated choice that is creating what the French philosopher Jacques Rancière (2011) calls ‘mass individualism’.
We are involved in a constant quest for completeness where the corporeal and the physical are used as substitutes for the psychological and the spiritual. It is the transient in pursuit of the intangible.
The work focuses on the cycle of consumption that epitomises our unfulfilling entanglement with the world of materiality. There is a transition from the state of expectancy and the potential of the acquisition of a new object to the mundanity of its everyday use-value. This is symbolised by the stripping away of the carefully designed and engineered packaging.
          Using materials associated with the presentation and the transportation of goods I am exploring this change in status. By manipulating and altering the state of the materials I draw a parallel between the expectations we have as individuals and our expectations as a society.

 

  

6. Padraic Barrett, The Engineering of Consent, 2020

Padraic's Artist Statement
My work is a response to the imperceptible forces of surveillance capitalism and its role in the gradual deterioration of the human condition. By placing the naked male figure in a suspended and simulated space in time I allude to the activation of a state of heterotopia. 
 
I have merged performance, film and installation to focus on the impact of a bewildering and constantly changing political theatre. The inscriptive capitalist ideals that are scripted onto the body, as well as the various ways in which strategies of power are stage-crafted, signify a ceaseless search for the threshold between reflection and transformation.
Explorations of technological dispositifs and cognitive processes are probed to convey oppositional forces through a transcendent narrative that initiates a dialogue between sacrifice and rebirth, virtual and natural, the weighted and the invisible. Identification with shamanistic ritual gives me the scope to take on the role of the performer as avatar and facilitates an investigation into the possibility of rebalancing the place of human beings within the natural world.

  

7. Aoife Claffey, Chaos, 2020

Aoife's Artist Statement
In today’s world, rapid developments in transportation, communication and media are seen as progressive. However, they also exacerbate the fracturing and destabilisation of society. Societal structures appear to dissolve through the acceleration of technologies. My work examines this through Irish transportation sites and systems. Using associated materials and media, I explore increasingly tenuous relationships between humans and objects. Objects are redeployed and their status reduced to arouse pure sensory stimulation or hallucination on identity. 
Using translucent layers of imagery and sound, I create immersive environments that transform unexpectedly each time the work is encountered. By manipulating these properties, I aim to provide  an ambiguous space for the viewer to recall the peripheral, a space that’s in the midst of a constant, perpetual transformation; 
a non-space.
During the process of making, I often allow activity to go beyond my control. Physiological and psychological tensions between chaos and order are encouraged both during the making, and within the work, to evoke uncanny effects or altered cognitive states. Using projection, found objects, motors and surround sound as agents for political and social change, my practice aims to critique these systems. Focusing on the reality of turbulently existing on the cusp of global self-induced crisis, my work encompasses notions of unpredictability, fragility and movement.

  

8. Seán Daly, 92.7km, 2020

Sean's Artist Statement
My practice explores a connection to place, specifically the area of woodland surrounding my family home in the Waterford countryside. As a concept, place is far more than the geographical space as represented on a map, it is a space that is actively lived in, has a history and cultural context that mediates our actions within it. By engaging in a deep-mapping study through photography, sculpture and cartography, I aim to better understand and represent the multifacetedness of place and personal ties to the land.
Disconnected from home as a result of the restrictions on movement within the current health crisis, I find myself searching for a connection to home. Songs, poems and objects holding a semblance of home become items for introspection.
Sand, stone and soil were extracted from the very surface of the land and delivered to me by my father just before lockdown. These humble materials are permeated with memory and meaning giving the connection to home a tactile, physical form.

 

For more about these artists and to follow the process of their work visit: Facebook - MA:AP Instagram - MA:AP or see exhibition video and catalogue on crawford.cit.ie / MAAP

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