Joining us for the day are:
- Daphne Wright,
- Elizabeth Magill,
- Locky Morris
[/check_list]who will provide us with insights into the development of their careers and practices.
Each session will open with a discussion or presentation and will be followed by an opportunity to pose questions and open up ideas.
Daphne Wright (born 1963) was elected as member of Aosdána in 2011. As well as taking part in exhibitions nationally and internationally, she has also produced large scale commissions. She currently lives and works between Dublin and Bristol.
She studied at the Institute of Technology, Sligo from 1981 – 85, National College of Art & Design, Dublin from 1985 – 87 and between 1989 – 1991 at Newcastle-upon-Tyne Polytechnic.
According to Daphne Wright’s biographical statement, her work “is the result of a relentless curiosity into the way in which a range of languages and materials can create an involvement with often unspoken human preoccupations”. Her practice consists of casting, making, sound recording, filmmaking and drawing, resulting in series of works that explore subjects such as prayer, literature, song, ageing and death. Wright’s work includes a use of materials that range plaster, tinfoil, video, printmaking, found objects and performance.
Wright’s ongoing series of figurative sculpture works includes the pieces: Child (2011), a Jesmonite cast of the artist’s son’s feet, painted with water color; and Sons (2011), a pair of Jesmonite casts of Wright’s sons from the chest up. Other sculpture works such as Lamb (2006), Swan (2007) and Stallion (2009) consist of casts of dead animals that have been positioned by the artist and rendered in marble dust and resin.
Wright has produced a series of large scale commissions: ‘Still life’ at Hanbury Hall, Worcester; ‘Plura’, South Tipperary County Council and IMMA Irish Museum of Modern Art; ‘Stallion’, Carlow County Council; ‘Home Ornaments’, Gorbals, Glasgow, in association with CWZG Architects and The Artworks Programme; ‘Theses Talking Walls ‘ New Art Centre, Salisbury; ‘Prayer Project’ Derby with Picture This Bristol; and most recently ‘Garden of Reason’, Ham House and Garden, Richmond.
Daphne Wright’s work has been shown in group exhibitions in Britain and internationally in Luan Gallery, Athlone, Ireland, GoMA, Glasgow, The Holburne Museum, Bath, Enniskillen Castle, Ireland and Hamberger Kunsthalle, Hamberg. Wright has received the following awards and fellowships: Henry Moore Foundation Fellowship, Manchester Metropolitan University, Cheltenham Fellowship, British School at Rome Award in Sculpture and the 1996 Paul Hamlyn Award.
Elizabeth Magill (born 1959 in Canada) grew up in Northern Ireland and, having studied at the Belfast College of Art and the Slade School of Fine Art, now lives and works in London. She began exhibiting in the mid-1980s.
She began exhibiting in the mid-1980s. She is a painter of prodigious versatility and inventiveness whose work has always drawn from a wide range of visual sources. While she has often integrated photographic materials and processes into her painting, in a number of novel ways, and has recently made an excursion into video, her primary fidelity has been to the medium of painting, in all its bewildering variety. Over the past few years her typically idiosyncratic revisioning of the tradition of the romantic sublime has resulted in a series of hauntingly distressed paintings of the landscape. Her first major solo exhibition was at the Arnolfini Gallery, Bristol, in 1990. In the same year she was included in the seminal ‘British Art Show’, which first introduced many of the most prominent younger British artists to a wider public.
She has had one-person exhibitions at various venues in Ireland, Britain, Germany, France and Spain, including: Southampton City Art Gallery in 1998; Kerlin Gallery in 1999; Anthony Wilkinson Gallery London in 2002, 2008; Artemis Greenberg Van Doren Gallery in New York; the Hugh Lane Municipal Gallery Dublin in 2003; the Ikon Gallery, Birmingham; Baltic, Gateshead; and Milton Keynes Gallery in 2004. She has held fellowships at the Tate Gallery, Liverpool and Saarlandisches Kunstlerhaus, Saarbrücken, Germany. Selected group exhibitions include ‘Places in Mind’, (with Adam Chodzko and Stan Douglas), Ormeau Baths Gallery, Belfast 2000, and ‘Premio Michetti 2000’ at Fondazione Michetti, Italy.
Magill is represented in many public and private collections worldwide including those of the Irish Museum of Modern Art, the Hugh Lane Gallery, Dublin the Arts Council of England, Southampton City Art Gallery, the British Council and the National Gallery of Australia.
A principal theme of Magill’s work is “hauntingly distressed paintings of the landscape”. For recent work, the creation process begins with a photograph which is scanned and the resulting image sprayed on canvas before being overpainted with oils to add highlights and contrast. The result has been compared stylistically with that of the German Romantic painter Caspar David Friedrich (1774 – 1840). She has described her in this way:
[blockquote]”I’m not so much painting what is there but what I imagine might be there” … These works are not landscapes as such, but more like suggested backdrops to how I feel, think and interpret the world.”[/blockquote]
Apparent influences are the glens and coastline of Northern Ireland, where she spent most of her childhood; but the emptiness of the landscapes themselves is generally tempered by empty houses, electricity pylons and the like, giving a sense of absence of human life and wistful isolation.
Locky Morris (in conversation with Maoliosa Boyle, Director of VOID, Derry)
Locky Morris was born in Derry City, Northern Ireland, where he continues to live and work. Most of his energy and preoccupations are put into a life as an artist working with photography, found objects, installation, text, sound and video, although he is also a musician and songwriter.
Within artwork that has spanned three decades there has been a persistent recurring focus centred around his immediate terrain. His current practice has, for the most part, been marked by a concentration on the familial and the familiar – sourcing a large amount of his material directly from the interstices and interactions of life, ‘where it seems as if he is trying to establish the border between humanity and the appearance of humanity’. Often underpinned by humour and sometimes triggered by what he refers to as ‘daily epiphanies’ his assemblages place emphasis on observation, perceptual manipulation and the physical nature of sound – with the equipment itself playing an integral part. The work, which is frequently described in terms of a multi-layered dark poetry, touches on a broad range of subjects, from the highly personal to the public and political.
During the 1980s and 1990s he became known for producing work that referred and reacted explicitly to the Northern Irish conflict. Some early pieces were shown in the British Art Show touring Britain (1990), New North (1990) and Strongholds (1991) at the Tate Gallery, Liverpool, while also being exhibited in his local neighbourhood in places such as disused bookmakers, community centres and vacant premises. He maintains this approach with upcoming projects in alternative spaces and continues to exhibit widely with recent solo presentations at the Golden Thread Gallery, Belfast, Mannheimer Kunstverein, Germany and Mothe’rs Tankstation, Dublin, along with group exhibitions at the Model, Sligo, Tulca festival, Galway, White Box Gallery and Apexart in New York City.
Events at Get Together 2014