dangle, align, topple | Italio Calvino at deAppendix, Blackrock

 

Date/Time
Date(s) - 19/11/2019 - 13/12/2019
9:00 am - 4:00 pm

Location
deAppendix

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iCal

dangle, align, topple includes photographs, paintings and two handmade books. The work is a reflection on the precarity of memory, the vulnerability of motherhood, and the importance of making as a means to fulfilment. I started this work in 2012 shortly after my first son, Michael was born. I have been incubating these ideas; time passed has allowed me to reflect on its value and purpose in elevating the virtue of poignant moments.

dangle, align, topple reflects two years beginning when Michael was about 6 months old. I started photographing the arrangements he created. Initially, some were accidental, but quickly they became more purposeful. I never intervened, I observed or simply came across his play. Over time, he became aware of me taking photos and he began to use the term “sculpture”.  I was drawn to his pleasure in learning how things rise and fall, how to risk and fail, of not knowing the prescribed order of things. I see this collection of photographs all at once a mind map, a world map, a house map, a storyboard, a record, a crossword, a puzzle, and ultimately as Alain de Botton writes these images grapple to “accomplish a task that is of central importance in our lives: to hold onto things we love when they are gone.”

Michael’s experiments filtered into the arrangements in my paintings. Huddle shows a mother and baby panda (curiously made of rabbit hair) staring at colourful but perhaps meaningless plastic straws. The second painting, Not together attempts to anthropomorphise warmly coloured domestic objects.

Two handmade books document the early months of my two sons; Michael, now seven and Emmet three. The first book contains drawings and written notes made during Michael’s first year. A few days after Michael was born I decided to make a drawing of him once a week. Notes written on the back of the drawings reflect on practicalities, observations and vulnerabilities as a new mother. Over time these drawings allo

dangle, align, topple includes photographs, paintings and two handmade books. The work is a reflection on the precarity of memory, the vulnerability of motherhood, and the importance of making as a means to fulfilment. I started this work in 2012 shortly after my first son, Michael was born. I have been incubating these ideas; time passed has allowed me to reflect on its value and purpose in elevating the virtue of poignant moments.

dangle, align, topple reflects two years beginning when Michael was about 6 months old. I started photographing the arrangements he created. Initially, some were accidental, but quickly they became more purposeful. I never intervened, I observed or simply came across his play. Over time, he became aware of me taking photos and he began to use the term “sculpture”.  I was drawn to his pleasure in learning how things rise and fall, how to risk and fail, of not knowing the prescribed order of things. I see this collection of photographs all at once a mind map, a world map, a house map, a storyboard, a record, a crossword, a puzzle, and ultimately as Alain de Botton writes these images grapple to “accomplish a task that is of central importance in our lives: to hold onto things we love when they are gone.”

Michael’s experiments filtered into the arrangements in my paintings. Huddle shows a mother and baby panda (curiously made of rabbit hair) staring at colourful but perhaps meaningless plastic straws. The second painting, Not together attempts to anthropomorphise warmly coloured domestic objects.

Two handmade books document the early months of my two sons; Michael, now seven and Emmet three. The first book contains drawings and written notes made during Michael’s first year. A few days after Michael was born I decided to make a drawing of him once a week. Notes written on the back of the drawings reflect on practicalities, observations and vulnerabilities as a new mother. Over time these drawings allowed for intimate connections with fleeting moments. The second book contains drawings of Emmet. This book is shorter; revealing the challenges with managing a growing family, and the different personality of a second baby. Michael’s drawings are included as he also becomes an author of the experience we both share. “Your labour which gives form to desire, takes from desire its form.”   – Italio Calvino

wed for intimate connections with fleeting moments. The second book contains drawings of Emmet. This book is shorter; revealing the challenges with managing a growing family, and the different personality of a second baby. Michael’s drawings are included as he also becomes an author of the experience we both share. “Your labour which gives form to desire, takes from desire its form.”   – Italio Calvino

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