2011-2013 MFA In Fine Art, University Of Ulster, Belfast
2006-2011 BA In Fine Art, Galway-Mayo Institute Of Technology Galway, Ireland
2013 Mullan Gallery Belfast, One Room, One Week (Ten new paintings)
Art In The East Side, The Engine Room Gallery, Belfast
Borderline Group Show, Hollywood, N.I.
Art In The East Side Billboard Project, Creative Exchange, Belfast
Annual Members Show, Catalyst Arts, Belfast
MFA Degree Show, University Of Ulster, Belfast
Summer Show, Mullan Gallery, Lisburn Rd, Belfast
On The Waterfront, Gallery 2, Waterfront Hall, Belfast
The Big Egg Hunt, Dublin City, In Aid Of Jack And Jill’s Children’s Foundation
MFA Interim Show, University Of Ulster, Belfast
2012 Annual Members Show, Catalyst Arts, Belfast
˝ (One Of Two), Platform Arts, Belfast
2011 BA Degree Show, Galway Mayo Institute Of Technology, Galway
2010 Exhibition In Aid Of Unicef, Ben Navaee Gallery, Toronto, Ontario
Fall Members Show, Ben Navaee Gallery, Toronto, Ontario
2009 Ealaion At Lunasa, Galway Arts Centre, Galway
Awards & Residencies
2013 Creative Exchange Artist Studios, Artist Residency 2013/14, Belfast
2011 Aras An Contae, Offaly County Arts Office, Support Funding For Individual Artist
2013 Painting sold for the personal collection of Hugh Mulholland, Curator at the Mac, Belfast
2013 Painting sold for the personal collection of mary mcintyre, reader in fine art & course director mfa fine art, at the university of ulster
2011 Painting awarded by gmit, galway, to the President of Ireland, President Michael D Higgins for his private collection.
‘The Absence of Presence’
My artistic practice is rooted in the current relationship between painting and photography. Drawing upon the ongoing association of these media, I use paint to play with representation and place within a variety of cultural legacies.
I employ photography only as a tool for my practice; I see a photograph as a map, providing a sense of reality that forms the basis of ambiguity and the uncanny within a painting. I push my use of the photographic image into something to encompass spatial and inferred atmosphere, whilst describing and yet limiting the materiality of the space itself.
Most recently I have been documenting landscapes with the impression of an uninhabited rural open-air space. The works are quite fictional. I seek to explore their associations with cinematic references, referencing film stills associated with horror and suspension; I play with this cultural iconography in order to explore the tension between what is present in an image, and what is inferred by the viewer’s cultural knowledge.
Through photography I seek to document these somewhat uninhabited landscapes and the sinister qualities of their emptiness, which I then further translate into paint. As places that come to symbolise motifs within films, these sets take on a different level of synthesis through their description in a painting. Whilst our understanding of these spaces is dictated through a set number of camera angles, compositions and lighting that make up a film’s image stream, so too is the viewing of a painting a composed experience. These half-empty and often “edited” painted landscapes become possible settings for something new, with the ambiguity that accompanies a semi-definition, yet alongside a remaining sinister atmosphere.
Through a loose painterly application and a selective palette of colour and tones, I wish to provide just enough information to relate to these landscapes represented. I find this loose draftmanship is a distortion of the real, making the work unstable, therefore visually stimulating. In playing with the painting’s staticity I can explore the line between setting and image: are these spaces “real”? do they exist or are these fictional backdrops? Do they describe or simply borrow from what we recognise?
Mullan Gallery www.mullangallery.com