a consequence of – a dappled world is a solo exhibition by Maud Cotter from a body of work which she has been developing since 2015 through exhibitions in Limerick City Gallery of Art, 2018 and The Dock, Carrick-on- Shannon, 2019. It is now in its third iteration, in Hugh Lane Gallery, produced amid the many turbulences brought on by Covid-19. Pied Beauty, a poem by Gerard Manley Hopkins, which celebrates the diverse and disparate nature of existence, takes from the title.
‘Maud Cotter’s work sets up an exchange between the most humble and rudimentary of everyday objects and far-reaching abstract and conceptual models.’ i.
Using materials gathered from a variety of sources, her surreal assemblages involve a process influenced by a Duchampian concept of the readymade, whereby the artist elevates the ordinary and the everyday to an art form. Purposefully selected for their evocative potential, the objects she selects question their very materiality and their inherent narratives are made visible by the artist’s empathic sensibility. Cotter’s installations build an original and thoughtful relationship between objects and space, through which she creates an original aesthetic language for the nature of things or, rather, what things want to tell us.
‘I think we’re in an amalgamated, integrated and collaborative relationship with matter.’ ii.
Maud Cotter lives and works in Cork. She is a graduate and Adjunct Faculty Member of the Crawford Municipal College of Art and Design, Cork. Cotter has lectured in Art and Architectural Colleges in Europe and America. She is co-founder of the National Sculpture Factory and a member of Aosdana. She is represented by domobaal gallery, London.
i. Ed Krčma, from his 2016 essay ‘To Diagram without Stilling: On Maud Cotter’s Sculpture’
ii. Maud Cotter, ‘Plinth Politics: within an exterior’, lecture at Royal Hibernian Academy, Dublin, 13 November 2019