Following the death of her brother Jerome, artist Miriam O’Connor returned home to be with her mother and sister and to help run the family farm. That was 2013, and since then, against the backdrop of everyday farming life, photography and the artist’s relationship to photography has taken many twists and turns. In the beginning, O’Connor welcomed it for its ability to help her navigate the chaos of intense grief. Later, she resented it for making light or romanticising such a tragic period in her life, and her family’s lives. Sometime later, she surmised that if photography was going to make things better. or serve any function at all, then it had better be put to work.
Changing course, Miriam O’Connor began to use photography in conjunction with routine farm tasks. She embarked on a series of self-portraits over an entire farming year. She made lists. She wrote stories. She compiled inventories of animals, rocks, water troughs, stakes and gates. She assembled these photographs into small logbooks which acted like micro manuals for survival. She became obsessed with a tree which, over time, became a huge source of comfort, a place that she consistently returned to time and time again when she was trying to find her way.
Tomorrow is Sunday is the sum of all of these paths. This work represents an attempt to make sense of that time. It is the artist’s way of acknowledging the complexities of grief and the magnitude of navigating a way through this life-changing event.