The conscious mind, not strictly definable, is most overtly expressed through the cognitive; strict systems of logic and reason where outcomes appear as certainties. In “Imposed Order II” metal and wire create an architectural framework that echoes these qualities of the cognitive. It is rigorous in its physical manifestation and systematic in its construction.

The tubes that burden the structure also attempt to hold these qualities as they hang in uniform order and are woven  into a grid formation.

However the tubes are bodily and contrast the frame in their temporality.

The tubes contents (water and oil) create a coactive relationship in which the opposing liquids are increments of the works ageing process. The water that maintains the grids formation slowly seeps through the permeable skins allowing oil to enter the form. This marks the end of the tubes lifetime and proves their inadequacy as ephemeral objects, to maintain system. Organic process exposed the fallibility of the cognitive.

Bronagh Tully’s work centres around a medical intervention on the body. Stemming from an ongoing personal experience, and moulded from inspiration from a range of places, such as Julia Kristeva's definition of the abject, classic horror and all things body horror.

Constructed around a personal narrative, different themes such as conventional beauty standards, topics such as body dysmorphia and the stigma around mental illness ware a prominent feature, and aim to invoke a discussion on such contentious themes

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The casts themselves exist in a state of aftermatter*

The intention of this cycle is to pose a series of questions to the established nature of casting as a traditional sculptural mechanism. The processes and the responses themselves act as a body of research, intended to stand outside measures of scientific articulation. 

Iron sulphate and the oxidizing process which forms the base skeleton of the crystals, the synthetic flesh of these intentionally anthropomorphized objects a mixture of PVA and varnish, combined with water as both a catalyst of the objects creation and dissolution becomes the central language of the artist’s production habits. 

The performative habitual actions of the artist captured through the video, form the stage. The audience is drawn into a participatory role in the performative body of the work.  The constant replication of these objects and the durational nature of both their production and dissolution forms the rhythm of creation into a habitual act that the artist embarks on, nurturing the objects through their life cycle.

*Aftermatter defined as: 

A quantifiable mass left as trace. Physical material that is left in the wake of a series of actions and intentions.

Ashling is a lens-based artist who explores the internal aspects of the psyche through psychological narratives.  Themes of identity, memory and melancholia are described in ominous settings to highlight the internal aspects of being through the external environment.  Ashling attempts to see beyond the surface in order to reveal what is hidden beneath.  Jungian theory and Freudian concepts inform the suggestive narratives and ideas expressed in her work. 

Concerned about mankind’s relationship with nature’s idea and ideals of beauty, Western world’s values and propositions, Beate challenges through binaries with help of the near-obsolete form of analogue pin hole photography. She builds the aesthetic examination of beauty in decay around organic and inorganic matter. Structured themes like order and play, analogue and digital, contemporary and antiquity, light heartedness and seriousness, her sculpture symbolizes the potent union between man’s / woman’s intellect and imagination. Her understated black and white images cleanse the mind’s palette and prepare for the final accord, the mesmerizing golden coloured embroidery. Of importance to Beate is, to plead the viewer to take time. Time for thought, that’s needed to appreciate beauty in decay. Her work is mysterious, secretive, whispering, speaks eerie baroqueness. Threads of splendour. Noise is coming from the materials only

Irish folklore has long been a prominent part of our culture, a topic which is feared in the older generations and even many of the younger ones. I am exploring the fabrication of haunting works of art by manipulating the body and the landscape, to create a poetic exhibit of horror-fiction, in an endeavour to manifest the beauty of this otherworldly presence in the land through the use of analogue film. I am exploring the use of storytelling through audio where several people in my family are talking about their experiences.

My family have had countless experiences with the paranormal and Irish folklore. Many of these have been signs of oncoming death, such as hearing the wail of the banshee, hearing three knocks or the presence of spirits in animal form as a sign of comfort. I want to explore these experiences within my work, creating images associated with my own personal emotions towards these encounters as they are such intimate happenings within my family.

This work elucidates the moment of the graft; its’ installation functioning as a graft into the site itself.  As with grafting in botany or medicine, there is an exchange of essential sap, through the interstitial space that both connects and delineates rootstock and imported shoot or scion. It is happening here, determined here, in this veiled place at the site of the graft itself. Can the imported live material anchor and endure?

The maker cultivates parallels between the process of grafting, and the individual’s assimilation of a new concept, identity, or way of being. Grafting is also considered as a metaphor for union and connection between people, an enterprise replete with contingency and uncertainty. There is thus peril at the moment of the graft.  

Can it truly integrate, and become unconditionally subsumed by the host/the self? Or will the graft collapse?  

An illusionistic experience of sensory immersion which invites contemplation and relaxation. 

This piece depicts deep-seated memories and illustrates someone in their safe space at a time where they struggle with their place in the world. 

The ritualistic actions carried out in this work show someone’s repeated efforts creating and

destroying and recreating in a continuous loop.  

The actions mirror the rise and fall motion, linking the breath of the sea to that of human existence.

Maria McSweeneys work explores the learning difficulty dyslexia. She is particularly interested in the idea of coping mechanisms and how dyslexics deal with difficult situations with responsive coping strategies.

Recently she has begun to be interested in producing stop motion animation and 16mm performative film. She finds these processes useful as it gives videos of everyday life an unrealistic and distorted atmosphere. Distortion, confusion and panic are the main emptions felt when a dyslexic is in a difficult situation.

Maria is also researching the idea of dark humour and satire. While she used to feel guilt and shame surrounding her learning difficulty, over the course of her work she has learned to laugh at the mistakes she makes.

Overall, Maria wants her work to be accessible using humour for non-dyslexics, dyslexics, and people who have a learning difficultys to understand, that there is nothing shameful about experiencing the world differently.

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I am interest in exploring the fine lines between hope and despair that exists in nature, everyday life and death. I have great attachment to things perhaps some people might overlook, objects perhaps that serve as a reminder of mortality. Certain metaphors or objects have a visual intrigue that ignite an emotional response, I find it’s important to have an intimate engagement with subject matter be it metaphysical, spiritual, horror, nature or the body. For example reflection in water and the upside down worlds that can be established inside such reflections can evoke a dream like world that always fascinates me.

Things that are in a constant state of change is another common subject you will see in my work, loss is something we have to except in life and this can be an opportunity to make something beautiful. All living and decaying things are in a constant mode of change, a circle of new life or creation. I like to focus on these cycles incorporating all kinds of emotions from fear, regret, sadness, peace, happiness, love and awe.

“We often forget that WE ARE NATURE. Nature is not something separate from us. So when we say that we have lost our connection to nature, we’ve lost our connection to ourselves.”  ― Andy Goldsworthy

Through the work I am creating a senses of contrast between life and death, good and evil and creation and destruction. I use certain materials with meaning that are symbolic to me, in order to convey a particular message to the viewer.  The reason for contrast in my work is a reflection of myself as I struggle with the two sides of nature and modern man. In order for me to survive in today’s world I have to use technology that is so prominent and integrated into our society, then there is the other side of me wants to reconnect with nature and in a sense reconnect with myself.

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Jamie Burke is currently working within the medium of moving image, the work at present investigates isolation through a short horror. This investigation follows a character delving into a different world, seeking escapism from their own world. The use of derelict sites are an important and essential aspect within my work, as these locations are no longer used and are no longer part of todays society. They have their own personal background before they were left behind, and also because he finds it interesting that life takes over the area and morphs it into something else when left untouched. In using video, the opportunity arises to narratively tell a surreal story about wanting to be lost somewhere else.

This bed, My bed. Is not a tribute to Tracey Emin, although I do appreciate her, her-self and her work and it is un-deniable that there aresimilarities in this work and her work ‘My bed’, so much that I wanted totell you, THIS IS NOT A TRIBUTE TO TRACEY EMIN.

I CREATED A STORY WHERE WE SEE A CHARACTER NAVIGATING THE TERRAIN, QUESTIONING THE UNKNOWN BEFORE HER. THE FURTHER SHE TRAVELS THROUGH IT THE GLITCHIER THE ENVIRONMENT GETS. I WANTED TO ADD SOME MYSTERY TO THE CONCEPT WHERE THE CHARACTER AND THE VIEWER DON’T KNOW IF ANYTHING IS REAL OR NOT. THE CHARACTER EVEN BEGINS TO QUESTION HER OWN EXISTENCE AND SEEMS TO BE THE ONLY ONE AWARE THAT THERE IS SOMETHING WRONG WITH THIS WORLD. IS SHE A PART OF THE LIVING OR HAS SHE BEEN SUCKED INTO AN UNKNOWN DIMENSIONAL PLAIN? TAKING SOME INSPIRATION FROM VIDEO-GAMES, I CREATED THE CHARACTER IN A FIRST PERSON POINT OF VIEW TOWARDS THE NARRATIVE. I DID THIS WITH THE PURPOSE OF ALLOWING THE VIEWER TO EXPERIENCE THE STORY THROUGH THE CHARACTERS EYES RATHER SEEING THEIR FACIAL FEATURES, THIS CREATES MORE OF A MYSTERY OF WHO THE CHARACTER ACTUALLY IS AND WHO THE VIEWER WANTS HER TO BE BY LEAVING IT TO THEIR OWN IMAGINATION.