https://fionakelly.co www.fionakelly.co Mon, 27 Oct 2025 17:33:30 +0000 https://fionakelly.co en https://fionakelly.co/Info-Instagram-links Tue, 21 Apr 2020 16:37:43 +0000 www.fionakelly.co https://fionakelly.co/Info-Instagram-links Info&nbsp; &nbsp;Instagram https://fionakelly.co/Info Tue, 21 Apr 2020 11:27:58 +0000 www.fionakelly.co https://fionakelly.co/Info Kelly grew up on a farm in the Midlands of Ireland; this instilled a keen respect for the landscape and a penchant for picking up stones. <img width="1760" height="744" width_o="1760" height_o="744" data-src="https://freight.cargo.site/t/original/i/be361cc64e0172410e2d18599e515b7434571a378a4124ca4b8e0fa6a4ae99ac/AC_FUND_VisualArts.png" data-mid="67834350" border="0" src="https://freight.cargo.site/w/1000/i/be361cc64e0172410e2d18599e515b7434571a378a4124ca4b8e0fa6a4ae99ac/AC_FUND_VisualArts.png" /> <img width="2916" height="814" width_o="2916" height_o="814" data-src="https://freight.cargo.site/t/original/i/4826fd3940839c7133b0084c9b062f66fcc0d2707aff5f3211f880565afe4dc1/Cork_Co_Co_Official_Logo_Master_Vector_EPS_File_Color_700by195-28px.jpg" data-mid="68632948" border="0" src="https://freight.cargo.site/w/1000/i/4826fd3940839c7133b0084c9b062f66fcc0d2707aff5f3211f880565afe4dc1/Cork_Co_Co_Official_Logo_Master_Vector_EPS_File_Color_700by195-28px.jpg" /> <img width="510" height="454" width_o="510" height_o="454" data-src="https://freight.cargo.site/t/original/i/b3d7878bca0da1869e7ff763e0a0a7708ed18e922535d73966887030d0d33922/unnamed.jpg" data-mid="67834143" border="0" src="https://freight.cargo.site/w/510/i/b3d7878bca0da1869e7ff763e0a0a7708ed18e922535d73966887030d0d33922/unnamed.jpg" /> <img width="1600" height="1600" width_o="1600" height_o="1600" data-src="https://freight.cargo.site/t/original/i/46ff6996e55460278c3647879a524d65d9e38010e3d5c3fd4ab035ed0c43c161/Fiona-Kelly-_Future-Forests_DETAIL_RHA.jpg" data-mid="67834438" border="0" src="https://freight.cargo.site/w/1000/i/46ff6996e55460278c3647879a524d65d9e38010e3d5c3fd4ab035ed0c43c161/Fiona-Kelly-_Future-Forests_DETAIL_RHA.jpg" /> https://fionakelly.co/about Tue, 21 Apr 2020 16:00:29 +0000 www.fionakelly.co https://fionakelly.co/about <img width="1793" height="583" width_o="1793" height_o="583" data-src="https://freight.cargo.site/t/original/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" data-mid="114951083" border="0" src="https://freight.cargo.site/w/1000/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" /> Fiona Kelly is drawn to the metamorphosis of territory, both urban and rural, in an age of environmental crisis. She examines questions surrounding the human ‘exploration’ of landscape, understood as both a relationship with nature and an extractivist approach to natural resources. Specifically, her research into wasteland and abandoned spaces addresses themes of ecology and society. De Certeau’s adage “stories about places are makeshift things, they are composed of the world’s debris” is a epitome of the individual practice of Fiona Kelly. The idea of this world’s debris manifests in the guise of material arrangements, foraged remnants, by-products of the urban landscape, which incorporate plywood, reconstituted waste and demolition material, crushed glass, dust, bitumen and scaffold like structures. These arrangements narrate a restlessness of ceaselessly shifting surfaces, resources, histories and topographies. The idea of entropy; the gradual decline into disorder and the degradation of matter, is depicted throughout Fiona’s work. Both real and imagined interruptions or disturbances within the landscape are recorded, to visually narrate what can be considered modern fables that represent the humanistic failure to control the environment; we turn complex ecological systems into natural resources and mountains become overburden. Fiona is currently a PhD candidate at NCAD, Dublin.&nbsp; &nbsp; <img width="1196" height="1190" width_o="1196" height_o="1190" data-src="https://freight.cargo.site/t/original/i/99dbff8912f74951a940a16de46be0c72fa4b8992063bc25b2094ba39b414e4e/Screen-Shot-2020-04-23-at-15.11.17.png" data-mid="68162585" border="0" src="https://freight.cargo.site/w/1000/i/99dbff8912f74951a940a16de46be0c72fa4b8992063bc25b2094ba39b414e4e/Screen-Shot-2020-04-23-at-15.11.17.png" /> https://fionakelly.co/news Tue, 21 Apr 2020 16:08:14 +0000 www.fionakelly.co https://fionakelly.co/news Tyrone Guthrie Centre Cork County Arts Residency Award My sincere thanks to Cork County Council for awarding me the fully funded Tyrone Guthrie Centre Residency award 2025! It was so nourishing to feel appreciated as an artist in these groundless times. I did much writing for my PhD textual component, On Fallowness.<img width="3792" height="2133" width_o="3792" height_o="2133" data-src="https://freight.cargo.site/t/original/i/88efdc205178313b4059b63a6098c85b8b1e4751dd0a3ddc21f19ba85e6fc33c/Social-Media-PNG-Logo.png" data-mid="241887319" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/88efdc205178313b4059b63a6098c85b8b1e4751dd0a3ddc21f19ba85e6fc33c/Social-Media-PNG-Logo.png" /> <img width="3024" height="3038" width_o="3024" height_o="3038" data-src="https://freight.cargo.site/t/original/i/6409107bc4f1895fadf84b612cdffa4e3fa6818c680357661d4d50a72ce04e89/unnamed.jpg" data-mid="241887402" border="0" src="https://freight.cargo.site/w/1000/i/6409107bc4f1895fadf84b612cdffa4e3fa6818c680357661d4d50a72ce04e89/unnamed.jpg" /> Mythologies of the Personal and the Land Curated by Miguel Amado Luan Gallery <img width="2480" height="2274" width_o="2480" height_o="2274" data-src="https://freight.cargo.site/t/original/i/bab530d3d15be6ed7f62c6d53cce4b1221922b9eecfe35fc37484f2967e5e855/image001.jpg" data-mid="241070990" border="0" src="https://freight.cargo.site/w/1000/i/bab530d3d15be6ed7f62c6d53cce4b1221922b9eecfe35fc37484f2967e5e855/image001.jpg" /> Westmeath Artists Awards 2025: Mythologies of the Personal and the Land Exhibition, at Luan Gallery on Friday, 28th November at 6 pm. Oh, the thinks you can think Curated by Emma Dwyer Poster Image:&nbsp;Bríd Moynahan <img width="9933" height="4961" width_o="9933" height_o="4961" data-src="https://freight.cargo.site/t/original/i/46d6edacf9664c8089d50c546f8a6d365d4ccb30f3a0333a8364ef9148998dc6/Invite.png" data-mid="240231798" border="0" src="https://freight.cargo.site/w/1000/i/46d6edacf9664c8089d50c546f8a6d365d4ccb30f3a0333a8364ef9148998dc6/Invite.png" /> Cork County Council’s 2025 Open Call Winter Exhibition, ‘Oh, the thinks you can think’ celebrates the thinking behind artworks. All art starts with an idea, whether that’s a rural landscape, a poem, a milking stool, or an abstract piece. Borrowing its title from the 1975 Dr Seuss book of the same name, the exhibition describes the many 'thinks' one can think and the endless possibilities and dreams that imagination can create, real or not real. The artists selected from an open call to present works include: Struán Bell, Mary Bowen Galvin, Sarah Buckley, Aoife Casey, Catherine Coakley, Denise Cronin, Gillian Cussen, Gerard Daly, Debbie Dawson, Elize de Beer, Arnold Thomas Fanning, Camilla Fanning, Noelle Ferris, Chris Finnegan, Abbie Foley, Anita Geaney, Mairead Geary, Siobhán Gillies, Éadaoin Glynn, Hilda Goold, Julianne Guinee, Silvia Hidalgo Pérez, Amal Hope, Niamh Hughes, David Kavanagh, Fiona Kelly, Aoibheann Kennedy, Ann Lambe, Kristin Laubach, Siobhan Leonard, Billy Lingwood, Sabina Lucas, Gina Lynch, Hannah McGrenera, John McHarg, Jacqueline Manley, Evgeniya Martirosyan, Riki Matsuda, Ann Mechelinck, Grace Mitchell, Hannah-Maria Morrison-Poulter, Bríd Moynahan, Kieran Murphy, Leah Murphy, Paul Murphy, Peter Nash, Jeni Ng, Gerard O’Callaghan, Lynn O’Donovan, Róisín O’Meadhra, Sarah O'Flaherty, Dorothy O'Riordan, Lisa O'Sullivan, Julia Pallone, Lucy Phelan, Don Samec, Silvio Severino, Daniel Sexton, Angie Shanahan, Jenny Snashall, Anastasiya Stepnova, Victoria Tammadge, Patricia Tomlinson, Orla Twomey, Armand Tessier, Inge Van Doorslaer, Amna Walayat, Rachel Walsh, Ursula Walsh, and Victoria Wals&nbsp; &nbsp; The exhibition will continue until Friday, the 19th of December. LHQ Gallery is open Monday to Friday 9am to 5.30pm. LHQ Gallery is in the County Library Building on Carrigrohane Road, Cork. AT FIRST I WAS LAND Studio 12, Backwater Artist Group, Cork CityPaul Gaffney | Debbie Godsell | Fiona Kelly | Sarah Long | Róisín O’Sullivan Curated by Niamh Browne <img width="6600" height="4877" width_o="6600" height_o="4877" data-src="https://freight.cargo.site/t/original/i/dbe0bf624a8723b019838c025a6a491d32246afc5cac977193f82e22ab544ffa/jedniezgoda.com_Backwater_At-first-I-was-land_05_High-Res.jpg" data-mid="239970481" border="0" src="https://freight.cargo.site/w/1000/i/dbe0bf624a8723b019838c025a6a491d32246afc5cac977193f82e22ab544ffa/jedniezgoda.com_Backwater_At-first-I-was-land_05_High-Res.jpg" />Opening Reception Thursday 6th March 2025, 6pmPanel Discussion Saturday 29th March 2025, 2pm <img width="6600" height="4402" width_o="6600" height_o="4402" data-src="https://freight.cargo.site/t/original/i/e32bfeeb58e5fc33f641051c4cedef1e31f1077c19f304bb6ea50dd22e12e86a/jedniezgoda.com_Backwater_At-first-I-was-land_07_High-Res.jpg" data-mid="239970478" border="0" src="https://freight.cargo.site/w/1000/i/e32bfeeb58e5fc33f641051c4cedef1e31f1077c19f304bb6ea50dd22e12e86a/jedniezgoda.com_Backwater_At-first-I-was-land_07_High-Res.jpg" /> <img width="4950" height="6600" width_o="4950" height_o="6600" data-src="https://freight.cargo.site/t/original/i/a270244e75e2bb7f2d76c707afcd8743b366e326f05a3b0ded51db23bd1e01c7/jedniezgoda.com_Backwater_At-first-I-was-land_08_High-Res.jpg" data-mid="239970479" border="0" src="https://freight.cargo.site/w/1000/i/a270244e75e2bb7f2d76c707afcd8743b366e326f05a3b0ded51db23bd1e01c7/jedniezgoda.com_Backwater_At-first-I-was-land_08_High-Res.jpg" /> <img width="6344" height="6341" width_o="6344" height_o="6341" data-src="https://freight.cargo.site/t/original/i/a8462c519500269cf3d751c33e6aba2e60d4866220da5aeddef51df0cf01b6b8/jedniezgoda.com_Backwater_At-first-I-was-land_03_High-Res.jpg" data-mid="239970484" border="0" src="https://freight.cargo.site/w/1000/i/a8462c519500269cf3d751c33e6aba2e60d4866220da5aeddef51df0cf01b6b8/jedniezgoda.com_Backwater_At-first-I-was-land_03_High-Res.jpg" /> Text by Dawn Williams Photos by Jed Niezgoda <img width="2048" height="1222" width_o="2048" height_o="1222" data-src="https://freight.cargo.site/t/original/i/b51c875fe44583dda5397b92d8e7026064be8c0dd769410e6a269e3a3a416273/At-First-I-was-Land-Web-2048x1222.jpg" data-mid="239933546" border="0" src="https://freight.cargo.site/w/1000/i/b51c875fe44583dda5397b92d8e7026064be8c0dd769410e6a269e3a3a416273/At-First-I-was-Land-Web-2048x1222.jpg" /> Backwater Artists Group is delighted to present our inaugural Emerging Curator Award Exhibition. This exhibition’s title “At first / I was land”&nbsp;is borrowed from the first two lines of Eavan Boland’s poem Mother Ireland first published in 1995. In Mother Ireland,&nbsp;Boland explores the complex and idealised metaphor of Ireland as a woman or maternal figure, and the reality faced by women living under patriarchy. Exploring ideas of sacrifice and identity while tying a physical body to the land, Boland reminds us where we’ve come from, and our fraught relationship to and with the Irish landscape.&nbsp;&nbsp; Land is a contested subject in Ireland, whether it be about ownership, use, or protection. Yet, it grounds us and keeps us connected. At first / I was land brings together artists who probe their bonds with the land and landscape. These are both direct and indirect, physical and ephemeral, material and spiritual. Notions of healing, rest, and time, are explored in artworks that span painting, sculpture, photography, and moving image.&nbsp; Land comes into Fiona Kelly’s practice through concepts of use and fallowness. Fallowness comes from the practice in agriculture whereby fields are left untilled or to rest. It encourages cultivated soil to regain and renew, and can be applied to how we live and work. Kelly’s work records the Spilt Hill Esker landmass and pseudo mountains of waste at the repurposing plant, Gannon ECO, in Co Westmeath and the latent potential of the fallowed land.&nbsp; At first / I was land, brings together artists that focus upon the various ways that humans interact with the land and how our relationship with it has changed over time. The artists remind us that land holds a restorative power, allowing us to pause, reflect, and heal in ways that are deeply personal and profound.&nbsp; Exhibtion Text by Niamh Browne. Arts Council of Ireland <img width="1793" height="583" width_o="1793" height_o="583" data-src="https://freight.cargo.site/t/original/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" data-mid="114943911" border="0" src="https://freight.cargo.site/w/1000/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" />My sincere gratitude to the Arts Council of Ireland on awarding me The 2025 PROJECT AWARD!!! This is huge! Strand 2- PRODUCTION will fund the creation of my PhD exhibtion in the Luan Gallery 2026. Radical Entanglement &amp; Envoirnmental Residues&nbsp; NCAD Dublin <img width="940" height="788" width_o="940" height_o="788" data-src="https://freight.cargo.site/t/original/i/cd62622e4efd91078abf1f3d3c2121a2f06409ec9585139c68ea2e19a08a809c/Brenan_NCAD-Research-Forum-Socials.jpg" data-mid="239934328" border="0" src="https://freight.cargo.site/w/940/i/cd62622e4efd91078abf1f3d3c2121a2f06409ec9585139c68ea2e19a08a809c/Brenan_NCAD-Research-Forum-Socials.jpg" /> NCAD RESEARCH FORUM: FRIDAY, 2 FEBRUARY 1.00-2.00PM, HARRY CLARKE LECTURE THEATRE, NCADRADICAL ENTANGLEMENT &amp; ENVIRONMENTAL RESIDUES: ON THE MAKING, REMAKING, AND UNMAKING OF HUMAN/NON-HUMAN RELATIONSCatriona Leahy, Chloe Brenan, Cliona Harmey and Fiona Kelly inconversation with Éireann Lorsung (UCD School of English, Drama and Film) on the material entanglements of human/non-human histories, creating spaces for thinking and working beyond extraction and subordination in socio-natural futures, the resistances of the reclaimed, and the limits of language in representing climate catastrophe. Arts Council of Ireland&nbsp; <img width="1793" height="583" width_o="1793" height_o="583" data-src="https://freight.cargo.site/t/original/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" data-mid="114943911" border="0" src="https://freight.cargo.site/w/1000/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" />My sincere gratitude to the Arts Council of Ireland on awarding me the Agility Award 2024. Dublin Art Book Fair&nbsp; Temple Bar Gallery Curated by Adrian Duncan <img width="2160" height="2160" width_o="2160" height_o="2160" data-src="https://freight.cargo.site/t/original/i/0ef3632ea7c295494a70a0c85c98e25ce2f6159c7039c8d011f307c6b5531aad/DABF24_IG_Slide1.jpg" data-mid="239934337" border="0" src="https://freight.cargo.site/w/1000/i/0ef3632ea7c295494a70a0c85c98e25ce2f6159c7039c8d011f307c6b5531aad/DABF24_IG_Slide1.jpg" /> <img width="2160" height="2160" width_o="2160" height_o="2160" data-src="https://freight.cargo.site/t/original/i/8e6ab6148334ffe29d14a0669783233b3eea17983cfb1bba4b0f80f277bf8057/DABF24_IG_Slide2.jpg" data-mid="239934336" border="0" src="https://freight.cargo.site/w/1000/i/8e6ab6148334ffe29d14a0669783233b3eea17983cfb1bba4b0f80f277bf8057/DABF24_IG_Slide2.jpg" /> LET THE MIRROR EXPRESS THE ROOM Luan Gallery Curated by Benjamin Stafford <img width="1007" height="1742" width_o="1007" height_o="1742" data-src="https://freight.cargo.site/t/original/i/cc8151fa2703e2e866fd02142cbee6c6ae29d6263344fe5b5ac799a8402aab70/Invitation-to-Opening-of-Let-The-Mirror-Express-The-Room-Exhibition.png" data-mid="239934324" border="0" src="https://freight.cargo.site/w/1000/i/cc8151fa2703e2e866fd02142cbee6c6ae29d6263344fe5b5ac799a8402aab70/Invitation-to-Opening-of-Let-The-Mirror-Express-The-Room-Exhibition.png" /> RADICAL ARCHAEOLOGIES Unearthing Landscape in Contemporary Irish Art GLUCKSMAN Gallery Curated by Chris Clarke <img width="1481" height="831" width_o="1481" height_o="831" data-src="https://freight.cargo.site/t/original/i/951e98ea613a61efde67a749739185e859a23484890b982f647f04e1b266a531/GlucksmanInvite_RadicalArchaeologies.JPEG" data-mid="239934888" border="0" src="https://freight.cargo.site/w/1000/i/951e98ea613a61efde67a749739185e859a23484890b982f647f04e1b266a531/GlucksmanInvite_RadicalArchaeologies.JPEG" /> Sá Lár- Artist Talk Luan Gallery <img width="1200" height="1200" width_o="1200" height_o="1200" data-src="https://freight.cargo.site/t/original/i/a6f80566419d5c74244b121f6533bb55fcb30daa79c27a134ebf708431d06b02/sa-lar-artist-talk.jpg" data-mid="239933659" border="0" src="https://freight.cargo.site/w/1000/i/a6f80566419d5c74244b121f6533bb55fcb30daa79c27a134ebf708431d06b02/sa-lar-artist-talk.jpg" /> Sá Lár- Westmeath Artist Award Luan Gallery <img width="4268" height="6401" width_o="4268" height_o="6401" data-src="https://freight.cargo.site/t/original/i/be612ea58f572efdc9607145b53f338590b9a3b918a200589bf8a8cc009b0920/3---No-Such-Thing-as-Away-3-web.jpg" data-mid="239934019" border="0" src="https://freight.cargo.site/w/1000/i/be612ea58f572efdc9607145b53f338590b9a3b918a200589bf8a8cc009b0920/3---No-Such-Thing-as-Away-3-web.jpg" /> Delighted that my work No Such Thing As Away has won the Westmeath Artist Award at the Luan Gallery, selected by curator Emer McGarry. On show as part of Sá Lár&nbsp; Photo Credit: Kate Bowe O’Brian <img width="595" height="595" width_o="595" height_o="595" data-src="https://freight.cargo.site/t/original/i/12c99454e32282e5983fe6649ada212f17b4ce924b324752efd21074c1d4ebfe/sa-lar.jpg" data-mid="239934302" border="0" src="https://freight.cargo.site/w/595/i/12c99454e32282e5983fe6649ada212f17b4ce924b324752efd21074c1d4ebfe/sa-lar.jpg" /> URBAN/FIELD <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/b9955931f50d90a7a4ddc39506e0cafa137cb9b082103f7f606b90abd0856231/URBANFIELDPOSTER.jpg" data-mid="222570723" border="0" src="https://freight.cargo.site/w/1000/i/b9955931f50d90a7a4ddc39506e0cafa137cb9b082103f7f606b90abd0856231/URBANFIELDPOSTER.jpg" /> Associative Relations <img width="1358" height="1920" width_o="1358" height_o="1920" data-src="https://freight.cargo.site/t/original/i/64cbf1a3d28e64939ee88cfed14125d78799df5832e100e587331e60001bf24e/MAAP2023_AssociativeRelations_poster.jpg" data-mid="222570651" border="0" src="https://freight.cargo.site/w/1000/i/64cbf1a3d28e64939ee88cfed14125d78799df5832e100e587331e60001bf24e/MAAP2023_AssociativeRelations_poster.jpg" /> Arts Council of Ireland <img width="1793" height="583" width_o="1793" height_o="583" data-src="https://freight.cargo.site/t/original/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" data-mid="114943911" border="0" src="https://freight.cargo.site/w/1000/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" />My sincere gratitude to the Arts Council of Ireland on awarding me the Agility Award 2023.&nbsp; Review!&nbsp;A Demarcation of Time <img width="828" height="1082" width_o="828" height_o="1082" data-src="https://freight.cargo.site/t/original/i/06c61cd35037584da251f27ff49e50116ca14b1e7a2f2841d1b7210ddfe9bc1c/Screen-Shot-2023-03-13-at-10.42.38.png" data-mid="222570706" border="0" src="https://freight.cargo.site/w/828/i/06c61cd35037584da251f27ff49e50116ca14b1e7a2f2841d1b7210ddfe9bc1c/Screen-Shot-2023-03-13-at-10.42.38.png" /> <img width="840" height="1082" width_o="840" height_o="1082" data-src="https://freight.cargo.site/t/original/i/88ab74c3b16a57b55286a94454354c55e7df0f7be1abc611f39bcde7a99a20e7/Screen-Shot-2023-03-13-at-10.42.49.png" data-mid="222570708" border="0" src="https://freight.cargo.site/w/840/i/88ab74c3b16a57b55286a94454354c55e7df0f7be1abc611f39bcde7a99a20e7/Screen-Shot-2023-03-13-at-10.42.49.png" /> A Demarcation of TimeRoyal Hibernian Academy, Dublin Curated by Sarah McAuliffe <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2c38182d66f305af0c8fad4fbcbb399b7ad0d4d3616a4f49869cbd3f24e15741/rha.jpeg" data-mid="222570705" border="0" src="https://freight.cargo.site/w/1000/i/2c38182d66f305af0c8fad4fbcbb399b7ad0d4d3616a4f49869cbd3f24e15741/rha.jpeg" /> <img width="1240" height="1748" width_o="1240" height_o="1748" data-src="https://freight.cargo.site/t/original/i/6010bfe961881bfd8c529cba171cb4573c007f805dbd2d1aeb66ff5320c89bcb/Fiona-Kelly--RHA.jpeg.png" data-mid="165002695" border="0" src="https://freight.cargo.site/w/1000/i/6010bfe961881bfd8c529cba171cb4573c007f805dbd2d1aeb66ff5320c89bcb/Fiona-Kelly--RHA.jpeg.png" /> <img width="2082" height="1446" width_o="2082" height_o="1446" data-src="https://freight.cargo.site/t/original/i/4e1a0cfffa1b6cafbdd1df480f79faf3fdb9c24cd5a25872fa6f909c55ce30bf/Screen-Shot-2023-01-16-at-15.46.49.png" data-mid="165005130" border="0" src="https://freight.cargo.site/w/1000/i/4e1a0cfffa1b6cafbdd1df480f79faf3fdb9c24cd5a25872fa6f909c55ce30bf/Screen-Shot-2023-01-16-at-15.46.49.png" /> For this Ashford In-conversation event, Fiona Kelly will discuss her exhibition, A Demarcation of Time with Chris Clarke, Senior Curator of Exhibitions + Collections at The Glucksman, Cork. This discussion will provide fascinating insights into the practices of both speakers and offer an intimate look at Kelly’s exhibited artworks, as well as her interest in the metamorphosis of territory, both urban and rural, in an age of environmental crisis. For more information, please visit the RHA website, here. PAPER VISUAL ART Review by Sarah Kelleher <img width="1164" height="1482" width_o="1164" height_o="1482" data-src="https://freight.cargo.site/t/original/i/1a7e506610fbbb0bbf269eb476de7058aa19a05a33db203fab8ef26a2c488c5d/Screen-Shot-2023-01-17-at-12.30.50.png" data-mid="165001983" border="0" src="https://freight.cargo.site/w/1000/i/1a7e506610fbbb0bbf269eb476de7058aa19a05a33db203fab8ef26a2c488c5d/Screen-Shot-2023-01-17-at-12.30.50.png" /> Delighted that Sarah Kelleher beautifully reviwed by exhibtion at SIRIUS A Temporary Iteration. With contributions from Rosa Abbott, June Caldwell, Simon Critchley, Adrian Duncan, Orit Gat, John Graham, Louis Haugh, Aleksandar Hemon, Juliet Jacques, Sarah Kelleher, Vincent Le, Marcela Mora y Araujo, Rebecca O’Dwyer, David Smith, and Claire Walsh. September 2022Launch: Friday, 23 September, 6.30 p.m., Dalymount Park, DublinDesign: an Atelier projectKindly supported by the Arts CouncilISSN: 2565-6376 The point of truth, beauty &amp; knowledgeKünstlerhaus Dortmund Curated by Debora Ando <img width="842" height="1191" width_o="842" height_o="1191" data-src="https://freight.cargo.site/t/original/i/0baf573dddb9134a262d8ae60926d4d3d8b79554ccf08ff3c6210f20e2bafb63/INVITATION.jpeg" data-mid="165001384" border="0" src="https://freight.cargo.site/w/842/i/0baf573dddb9134a262d8ae60926d4d3d8b79554ccf08ff3c6210f20e2bafb63/INVITATION.jpeg" /> I am delighted to invite you to the opening of the exhibition The point of truth, beauty and knowledge.&nbsp;The opening takes place on December 2nd, 6–10pm, Künstlerhaus Dortmund, Sunderweg 1, 44147 Dortmund. Please find more details on our Website The point of truth, beauty and knowledge presents six positions whose artistic explorations reflect current investigations on the poetics of contemporary printmaking. These embrace intrinsic qualities of two- and three-dimensional surfaces, whereby the conception of individual cosmos emerges, manifesting and contemplating the role and relevance of art in current times. Artists: Ian Chamberlain (Bristol, England), Julienne Jattiot (Leipzig/Berlin), Fiona Kelly (Cork, Ireland), Sosuke Ueta (Tokyo), Katsutoshi Yuasa (Tokyo) und Majla Zeneli (Berlin) Graphica Creativa 2022 Jyväskylä Art Museum Curated by&nbsp;Teija Lammi <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/79749cc478a694a8179dea9cf60001dcc79c3f1c0b823db410eb7d07a5d88745/311111284_534652485332514_6453400444969524602_n.jpg" data-mid="165002333" border="0" src="https://freight.cargo.site/w/1000/i/79749cc478a694a8179dea9cf60001dcc79c3f1c0b823db410eb7d07a5d88745/311111284_534652485332514_6453400444969524602_n.jpg" /> Honoured to be one of the selected Artists for the&nbsp;Graphica Creativa Triennale 2022. Future Forests travels to Finland! Graphica Creativa is an international print exhibition organised every three years in Jyväskylä since 1975, and at the Jyväskylä Art Museum since 1998. Graphica Creativa is the oldest exhibition of international printmaking organised in the Northern countries and the only reoccurring exhibition of international printmaking in Finland. A Temorary Iteration SIRIUS Arts Center Curated by Miguel Amado <img width="1613" height="1075" width_o="1613" height_o="1075" data-src="https://freight.cargo.site/t/original/i/a3bfd54cbf4e889565a6e61fbfa5eb381b7dbaf2d88c1fb0f81b5dfc4b70bc2d/WEB01.FionaKelly_A-Temporary-Iteration.jpg" data-mid="152043511" border="0" data-scale="95" src="https://freight.cargo.site/w/1000/i/a3bfd54cbf4e889565a6e61fbfa5eb381b7dbaf2d88c1fb0f81b5dfc4b70bc2d/WEB01.FionaKelly_A-Temporary-Iteration.jpg" /> Fiona Kelly depicts landscape through a variety of means and mediums, but always comes back to its very foundations—earth itself and geological stratigraphy. In this project, she engages with the esker, a distinctly Irish landform. The project evolved through an artist residency at GannonEco, a plant located in a disused industrial quarry along the Esker Riada that repurposes matter and by-products of industrial manufacturing. An esker (or eiscir) is a low-lying ridge composed of sand, gravel, and boulders deposited during the Midlandian Ice Age. The Esker Riada is the key example in Ireland, connecting east and west and separating north from south. Its name indicates its geographical and social significance, as eiscir means “divide” and riada means “road” in Irish. For centuries, eskers have established lines of communication and served as prime agricultural areas. Today they are a valued source of urban construction material, especially sand and gravel. This large-scale exploitation of natural resources is evident from the many industrial quarries along the Esker Riada. A Temporary Iteration combines sculpture, moving image, and sound. Nineteen 3D pieces replicate the shape of a scalenohedron, a crystal formed from&nbsp;calcite.&nbsp;The properties of calcite make it one of the most widely used of all minerals; it is employed as urban construction material, abrasive, agricultural soil treatment, pigment, pharmaceutical component, and more. It is the principal constituent of the Esker Riada. The objects lie on the floor and on top of each other, arranged to simulate a terrain. Their various planes operate as projection screens, momentarily holding footage of dynamic landmasses; organic matter such as earth, grass, and flowers; a re-wilded quarry; and pseudo-mountains of raw and unprocessed waste at GannonEco. Complementing this are ambient sounds recorded inside waste storage warehouses; sounds of falling glass and matter from debris piles at GannonEco; and ambient sounds and birdsongs collected along the Esker Riada. Kelly’s imagined topography shows the esker’s ruination from extractivist activity and its current status—somewhere between a utopian return to nature and the realities of extractive land use. More broadly, the work points to the Irish landscape as an over-tapped natural resource, full of political and environmental disturbances and highly emblematic of Ireland’s historical and contemporary geological and social conditions. Produced by SIRIUS. Artist supported by the Arts Council through a Project Award 2021. Launch event: 7 May, 2-4pm. Exhibition tour and panel discussion with Fiona Kelly, Miguel Amado and curator Rayne Booth. <img width="1793" height="583" width_o="1793" height_o="583" data-src="https://freight.cargo.site/t/original/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" data-mid="114943911" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" /> <img width="1268" height="670" width_o="1268" height_o="670" data-src="https://freight.cargo.site/t/original/i/fb243b72643cf58d18856adc00f5d5085e338c3f068cd0109a055940646c7168/Screen-Shot-2022-09-04-at-13.19.31.png" data-mid="152043485" border="0" src="https://freight.cargo.site/w/1000/i/fb243b72643cf58d18856adc00f5d5085e338c3f068cd0109a055940646c7168/Screen-Shot-2022-09-04-at-13.19.31.png" /> THE SPACE WE OCCUPYSolas Nua, Washington DC. Curated by Miranda Driscoll. An exhibition of work by Irish visual artists Ailbhe Ní Bhriain, Fiona Kelly, Katie Holten, Colin Crotty, Neil Carroll &amp; George Bolster, curated by Solas Nua’s Executive Director, Miranda Driscoll. <img width="3600" height="2400" width_o="3600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/694667a7eaae9ab439a939d6b8d87331c62bc15881611642fe37bcb32474d686/20220709-8983.jpg" data-mid="152043694" border="0" src="https://freight.cargo.site/w/1000/i/694667a7eaae9ab439a939d6b8d87331c62bc15881611642fe37bcb32474d686/20220709-8983.jpg" /> The Space We Occupy is a group exhibition of work by six visual artists based in Dublin, Cork and New York City. The artists represent the depth and breadth of contemporary visual art being made across the island of Ireland today and by the many Irish artists who call the U.S. home.&nbsp;The works consider our relationship with place and time; from the macro to the micro—Earth’s place in the solar system, humankind’s brief time on Earth, the place we occupy in community and the physical relationship between artwork and viewer. Originally conceived to mark the opening of the New Irish Arts Center building in New York, the exhibition now travels to Washington, D.C., to occupy the spectacular Whittle School and Studios in the North Cleveland Park neighborhood. Formerly used as the U.S. headquarters of the International Telecommunications Satellite Organization (Intelsat), the building is known for its futuristic, high-tech architecture. Designed by the Australian architect John Andrews, Intelsat's design became an important model for environmentally conscious and energy saving architecture. At the time of its construction, the new Intelsat headquarters was one of the first green buildings in Washington, D.C. The building was later re-envisioned by Italian architect Renzo Piano. The Space We Occupy will be opened by Ambassador Daniel Mulhall, Ireland's Ambassador to the USA, at&nbsp;2pm on Saturday 09 July&nbsp;at Whittle School &amp; Studios, 3400 International Dr NW, Washington, D.C., 20008. This exhibition, which runs until&nbsp;Sunday 31 July, originated at the Irish Arts Center in New York City and is supported by Culture Ireland. <img width="664" height="216" width_o="664" height_o="216" data-src="https://freight.cargo.site/t/original/i/5328746c2678bcfdc2164f70e4cd39f2b802c3111453ec1eb0070a589136c690/Screen-Shot-2022-09-04-at-13.24.48.png" data-mid="152043696" border="0" data-scale="47" src="https://freight.cargo.site/w/664/i/5328746c2678bcfdc2164f70e4cd39f2b802c3111453ec1eb0070a589136c690/Screen-Shot-2022-09-04-at-13.24.48.png" /><img width="502" height="340" width_o="502" height_o="340" data-src="https://freight.cargo.site/t/original/i/0954cb0ad4243c426410358a1b1a484c772678e23b25205c7aa39d4428680d21/Screen-Shot-2022-09-04-at-13.25.07.png" data-mid="152043700" border="0" data-scale="31" src="https://freight.cargo.site/w/502/i/0954cb0ad4243c426410358a1b1a484c772678e23b25205c7aa39d4428680d21/Screen-Shot-2022-09-04-at-13.25.07.png" /> <img width="440" height="236" width_o="440" height_o="236" data-src="https://freight.cargo.site/t/original/i/dd90b6b9f79fbfbcd7da430314f271a87e9b0265c611dd01f1e28d649ccbb307/Screen-Shot-2022-09-04-at-13.30.36.png" data-mid="152043811" border="0" data-scale="33" src="https://freight.cargo.site/w/440/i/dd90b6b9f79fbfbcd7da430314f271a87e9b0265c611dd01f1e28d649ccbb307/Screen-Shot-2022-09-04-at-13.30.36.png" /> BOTANICA: The Art of PlantsCurated by Michael Waldron <img width="6000" height="3751" width_o="6000" height_o="3751" data-src="https://freight.cargo.site/t/original/i/f51bed578d75202522898947182a272496f7ba51c8937b18856bc662275519af/jedniezgoda.com_CAG_Botanica_06_High-Res.jpg" data-mid="152043867" border="0" src="https://freight.cargo.site/w/1000/i/f51bed578d75202522898947182a272496f7ba51c8937b18856bc662275519af/jedniezgoda.com_CAG_Botanica_06_High-Res.jpg" /> 17 March – 25 September BOTANICA: The Art of Plants gathers selected historic and contemporary works from the collection to probe how artists have, over time, represented plants in their practices through pastel, pencil, paint, print, and sculpture. Running from spring to autumn, this exhibition touches on the histories of plant collecting – and ethical questions of colonialism that arise from it – and considers the place of gardening, the hidden meanings of flowers, and the medicinal applications of plants, among other themes. BOTANICA offers a timely reflection on our relationship with plants. Indeed, just as the pandemic has underscored Millennials’ increasing attraction to caring for houseplants, our impact on the environment and biodiversity has come to define a new geological age: the Anthropocene. In art, plants have figured as accompaniments to important themes, borne symbolic meanings, and emerged as subjects in their own right. In this exhibition, the selected artworks range from landscapes and still lifes to botanical and arboreal studies. Are there encoded meanings in flowers? What are the medicinal qualities of plants? Can trees speak? BOTANICA features artworks by Emily Anderson, George Clausen, Thomas F. Collier, Sylvia Cooke-Collis, Susanna Adelaide Deane, Augustin Amant Edouart, Gerda Frömel, Debbie Godsell, Patrick Hennessy, Katie Holten, Evie Hone, Marshall Hutson, Mainie Jellett, Fiona Kelly, John Lavery, Maurice MacGonigal, Robert Matthews, Nellie Möckler, Rosaleen Moore, Sarah O’Flaherty, Monica Poole, Kathy Prendergast, Dod Procter, Vivienne Roche, Nigel Rolfe, Harry Scully, and Jennifer Trouton. THE SPACE WE OCCUPYCurated by Miranda Driscoll. New York City <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/d0413498e592e6bbd25d7fe2536657052b756e541c6119da342f390b66c5513e/IAC_Visual-Arts-Invites_2022_Space-We-Occupy_5_01.gif" data-mid="136879443" border="0" src="https://freight.cargo.site/w/1000/i/d0413498e592e6bbd25d7fe2536657052b756e541c6119da342f390b66c5513e/IAC_Visual-Arts-Invites_2022_Space-We-Occupy_5_01.gif" /> IRISH ARTS CENTER PRESENTS THE SPACE WE OCCUPY, THE INAUGURAL VISUAL ART EXHIBITION IN THE ORGANIZATION’S NEW BUILDING, DECEMBER 8, 2021-MAY 22, 2022 <img width="974" height="175" width_o="974" height_o="175" data-src="https://freight.cargo.site/t/original/i/3e0b2ddddf35bff7bd7cede75996fa2efa681088a8a75327effde2f73bcfc322/iac.png" data-mid="126819811" border="0" src="https://freight.cargo.site/w/974/i/3e0b2ddddf35bff7bd7cede75996fa2efa681088a8a75327effde2f73bcfc322/iac.png" />The Space We Occupy, Curated by Miranda Driscoll—the First Curator-in-Residence in Irish Arts Center’s Organization- Features Work from George Bolster, Ailbhe Ní Bhriain, Neil Carroll, Colin Crotty, Katie Holten, and Fiona Kelly Multi-Media Activation of the Public Realms of 726 11th Avenue Marks the Opening of the New Irish Arts Center and Invites the Viewer to Consider the Space We Occupy During Our Short Time on Earth <img width="662" height="652" width_o="662" height_o="652" data-src="https://freight.cargo.site/t/original/i/6484f543c8e4ad8d3835ed2df4ea628eeddfbe6a0880e2b17e9270295fc3f20f/iac-gb.png" data-mid="126819832" border="0" src="https://freight.cargo.site/w/662/i/6484f543c8e4ad8d3835ed2df4ea628eeddfbe6a0880e2b17e9270295fc3f20f/iac-gb.png" /> You Are Made of Stardust, George Bolster, 2021, laser cut acrylic, chain, motors, dimensions variable. Photo by George Bolster. Irish Arts Center (IAC), based in New York City and renowned for presenting dynamic, inspiring, collaborative experiences of the evolving arts and culture of Ireland and Irish America in an environment of warm Irish hospitality, presents The Space We Occupy, an exhibition featuring George Bolster, Ailbhe Ní Bhriain, Neil Carroll, Colin Crotty, Katie Holten, and Fiona Kelly. On view from December 8, 2021-May 22, 2022 (with an Artist Talk March 30, 6pm ET), The Space We Occupy represents two significant firsts for the organization: the debut exhibition in its new building—which significantly expands Irish Arts Center’s capacity for displaying visual art—and the first under its just-launched Curator-in-Residence initiative. Curated by inaugural resident Miranda Driscoll (executive director of Solas Nua, Washington, D.C., and former director of Sirius Arts Centre in Cork) the exhibit’s six artists represent the breadth and depth of contemporary Irish visual arts. Here, they use installation, photography, print and drawing, as well as paint and plaster—the physical materials of the building’s renovation—to mark its momentous opening. The viewer is invited to explore all four floors of the building to experience the works. December visiting hours are Tuesdays and Wednesdays from 6pm – 8pm, Thursdays, Fridays from 6:30pm to 8pm; Saturdays from 1pm to 8pm (starting December 13), and Sundays from 5:30pm to 8pm. The exhibition will be closed on Christmas Eve and Christmas Day. The exhibition’s title contains a multitude of meanings. It alludes to our relationship with place and time, from the macro to the micro—Earth’s place in the solar system, humankind’s time on Earth, the place we occupy in community, the physical space of the Irish Arts Center building and that occupied by the artist or viewer. &nbsp; About Irish Arts Center Irish Arts Center, founded in 1972 and based in Hell’s Kitchen, New York City, is a home for artists and audiences of all backgrounds who share a passion or appreciation for the evolving arts and culture of contemporary Ireland and Irish America. We present, develop, and celebrate work from established and emerging artists and cultural practitioners, providing audiences with emotionally and intellectually engaging experiences—fueled by collaboration, innovation, adventurousness, authenticity, and the celebration of our common humanity, in an environment of Irish hospitality. Steeped in grassroots traditions, we also provide community education programs and access to the arts for people of all ages and ethnic, racial and socioeconomic backgrounds. In an historic partnership of the people of Ireland and New York, Irish Arts Center recently completed construction on a fully funded $60MM state-of-the-art new facility to support this mission for the 21st century. PRESS CONTACT Blake Zidell &amp; Associates: blake@blakezidell.com The Butter Museum &nbsp;Public Art Commission&nbsp;2021 Fiona Kelly - Of The Land from Butter Museum on Vimeo. Inflorescence 14 August – 31 October 2021 Curated by Maeve Lynch <img width="2953" height="4164" width_o="2953" height_o="4164" data-src="https://freight.cargo.site/t/original/i/faadc99e9894e4b408da89c85c77fe8de4291d679053bd5335cb37cf341a7759/Inflorescence-A1-PRINT.jpg" data-mid="126827170" border="0" src="https://freight.cargo.site/w/1000/i/faadc99e9894e4b408da89c85c77fe8de4291d679053bd5335cb37cf341a7759/Inflorescence-A1-PRINT.jpg" /> Inflorescence is an exhibition by Cork Printmakers at The Print Gallery, Nano Nagle Place exploring themes of biodiversity, botany and ecology. The exhibition touches on issues of the environment, sustainability and biodiversity, taking in both micro and macro level viewpoints and referencing printmaking’s historical depictions of botanical specimens. The exhibition takes inspiration from its location within the gardens of Nano Nagle Place as a historic site of contemplation and reflection. Exhibiting Artists: &nbsp; Don Braisby, Anita Geaney, Sean Hanrahan, Fiona Kelly, Eimearjean Mc Cormack, Frieda Meaney, Cillian Moynihan, Nikki Tait The Crawford Art Gallery New Threads24 July – 5 September 2021Curated by Michael Waldron <img width="5232" height="5232" width_o="5232" height_o="5232" data-src="https://freight.cargo.site/t/original/i/c43ce1cf677377df1ca5ab29ff6976270d1b0e0e0365ac8da7c86e14941b4d2c/KellyFiona_Future-Wanderings.jpg" data-mid="114945591" border="0" src="https://freight.cargo.site/w/1000/i/c43ce1cf677377df1ca5ab29ff6976270d1b0e0e0365ac8da7c86e14941b4d2c/KellyFiona_Future-Wanderings.jpg" /> Future Wanderings&nbsp;(2017) on display at The Crawford Art Gallery New Threads showcases more than 20 artworks that have recently come into public ownership, made possible though major acquisitions funding from the Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media. The exhibition’s title is inspired by one of the featured artworks, Ariadne’s Thread(2013) by Jennifer Trouton, which borrows from an Ancient Greek myth and suggests an escape from the fabled Labyrinth. The painting provides a curious entry point from which visitors may follow – or tease out – new threads of practice and meaning in the collection. In total, 225 artworks by 39 contemporary artists have been added to Crawford Art Gallery’s collection in recent months, ranging from paintings, photographs, prints, and drawings, to sculptures, installations, digital film and sound works, textile and embroideries. Curated by Michael Waldron <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/550340dfd29b15d0077fc95bb054f29537785cb9f25447938bef9e3641b28e7f/jedniezgoda.com_CAG_New-Threads_13_High-Res.jpg" data-mid="126826042" border="0" src="https://freight.cargo.site/w/1000/i/550340dfd29b15d0077fc95bb054f29537785cb9f25447938bef9e3641b28e7f/jedniezgoda.com_CAG_New-Threads_13_High-Res.jpg" />Install shot by Jed Niezgoda The National Gallery of Ireland New Perspectives Acquisitions 2011–2020 11 May – 2 August 2021 <img width="2953" height="2108" width_o="2953" height_o="2108" data-src="https://freight.cargo.site/t/original/i/0292a0babe448c9fa191b817550529a28e9bfbba2e1a6f7cb36d91b7436dcfa6/01.KellyFiona_Future-Forests.jpg" data-mid="114945306" border="0" src="https://freight.cargo.site/w/1000/i/0292a0babe448c9fa191b817550529a28e9bfbba2e1a6f7cb36d91b7436dcfa6/01.KellyFiona_Future-Forests.jpg" /> Future Forests (2018) on display at The National Gallery Discover a decade of new acquisitions – many on display for the first time – in New Perspectives. The Gallery holds Ireland’s national collection of art, a collection that is constantly growing and evolving through the addition of new works. These acquisitions augment and enrich the collection for the nation. New Perspectives includes newly acquired Irish art, Western art, portraiture, works on paper, and archival material, featuring artists from Peter Paul Rubens (1577–1640) to Alice Neel (1900-1984), and Ilya Bolotowsky (1907–1981) to Mairead O'hEocha. Works selected by Sean RainbirdCurators | Janet McLean &amp; Niamh MacNallyArts Council of Ireland Arts Council of Ireland <img width="1793" height="583" width_o="1793" height_o="583" data-src="https://freight.cargo.site/t/original/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" data-mid="114943911" border="0" src="https://freight.cargo.site/w/1000/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" />My sincere gratitude to the Arts Council of Ireland on awarding me a Visual Arts Project Award 2021!!!&nbsp; This research &amp; development award is nessisary in the creation of new work for my upcoming Solo Exhibition at the SIRIUS Arts Centre 2022. The National Collection <img width="5001" height="3305" width_o="5001" height_o="3305" data-src="https://freight.cargo.site/t/original/i/df9a0c043aa3d88527880efc381efa9711c3d094983d588ee98dd9d00e5d6301/01.KellyFiona_Homing_2020.jpg" data-mid="110597686" border="0" src="https://freight.cargo.site/w/1000/i/df9a0c043aa3d88527880efc381efa9711c3d094983d588ee98dd9d00e5d6301/01.KellyFiona_Homing_2020.jpg" /> Homing- recent aquistition for the National Collection The National Collection is the art collection of the State, which includes Crawford Art Gallery, IMMA, the National Gallery of Ireland, the Arts Council, and the Office of Public Works, for example. This acquisitions fund is therefore a major investment and vote of confidence in contemporary art, living artists, and the National Collection. As the cultural repositories for the country, the role of the National Cultural Institutions is to reflect Ireland and her people and tell the story of our country. The Artworks This is the first time in over a decade that substantial funding has been specifically allocated towards building the National Collection to reflect contemporary culture.The body of 422 artworks by 70 artists from across the country has been selected through a rigorous process by both institutions to ensure strategic and thoughtful acquisitions for the nation. Spanning from 1972 to 2021, the 225 works Crawford Art Gallery has acquired consist of paintings, photographic work, prints, drawings, sculpture, installations, moving image, sound work, film, digital work, embroidery and performance. The Artists Below is a list of the 39 artists whose work Crawford Art Gallery has acquired to add to the National Collection. We’ll be profiling each artist on this list on our social media channels and website over the coming weeks and months in our #YourNationalCollection series: stay tuned for updates. Aideen Barry, Sara Baume, Stephen Brandes, Angela Burchill, Declan Byrne, Elaine Byrne, Tom Climent, Yvonne Condon, Elizabeth Cope, Gary Coyle, Stephen Doyle, Rita Duffy, Amanda Dunsmore, Kevin Gaffney, Debbie Godsell, Michael Hanna, Marie Holohan, Katie Holten, Brianna Hurley, Andrew Kearney, John Keating, Fiona Kelly, Anne Kiely &amp; Mary Palmer, Roseanne Lynch, Brian Maguire, Evgeniya Martirosyan, Danny McCarthy, Rosaleen Moore, Peter Nash, Ailbhe Ní Bhriain, Íde Ní Shúleabháin, Nuala O’Donovan, Sarah O’Flaherty, Tom O’Sullivan, Michael Quane, Jennifer Trouton, Charles Tyrrell, Daphne Wright. #YourNationalCollection Below &amp; Time Between <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/55426def8c03412812094350023eeef614dcb855ec919320f39f8c80d27ed6d1/Below-and-Time-Install.jpg" data-mid="110598367" border="0" src="https://freight.cargo.site/w/1000/i/55426def8c03412812094350023eeef614dcb855ec919320f39f8c80d27ed6d1/Below-and-Time-Install.jpg" />Installation shot by Brian MacDomhnaill We live on a restless Earth. To think in deep time can be a method of reimagining our problematic present; countermanding its hasty alterations and instabilities with older, slower stories of making and unmaking. An awareness of deep time brings us to consider our historical legacy, what we are leaving behind for the aeons and for the beings that will follow us. Below, and Time Between is an interplay of two practices meeting through an experimental installation by artists Carol Anne Connolly and Fiona Kelly. Dealing with unfolding landscapes and methods of mapping, their work considers geological and political themes within the contemporary narrative of land use and deep time. Below, and Time Between from Backwater Artists Group on Vimeo.Video Podcast with artists Carol Anne Connolly and Fiona Kelly with arts writer and curator Sarah Kelleher. Arts Council of Ireland <img width="1793" height="583" width_o="1793" height_o="583" data-src="https://freight.cargo.site/t/original/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" data-mid="114943911" border="0" src="https://freight.cargo.site/w/1000/i/2b810c8eeb25b374c80000e43217fa6045f0ab32963f0e55d06eb4d15c658f6b/ac-funding-visual-arts-se-cmyk-black-copy.jpg" /> My sincere gratitude to the Arts Council of Ireland on awarding me a Visual Arts Bursary Award 2020!!! This award gives me the time &amp; space to develop new ideas and make outside of a deadline orentitated practice. LOQUIUM <img width="766" height="414" width_o="766" height_o="414" data-src="https://freight.cargo.site/t/original/i/dd571c6b3fb30541bcfd3785211c4f2d57a76a31702cd8bc767b97ba1079db7f/Screen-Shot-2020-10-14-at-15.30.19.png" data-mid="85571157" border="0" data-scale="75" src="https://freight.cargo.site/w/766/i/dd571c6b3fb30541bcfd3785211c4f2d57a76a31702cd8bc767b97ba1079db7f/Screen-Shot-2020-10-14-at-15.30.19.png" /> <img width="1080" height="900" width_o="1080" height_o="900" data-src="https://freight.cargo.site/t/original/i/d9f649b26625a942a62170d456aab19d96ddb01c0bafce7e8bb61ccb6f747ecf/web-loquium.jpg" data-mid="85570999" border="0" src="https://freight.cargo.site/w/1000/i/d9f649b26625a942a62170d456aab19d96ddb01c0bafce7e8bb61ccb6f747ecf/web-loquium.jpg" /> Loquium is a new online lecture series looking at the materialised forms of sculptural practices and the knowledge they produce. We hope to delve into the differences in artistic material enquiry and its material possibilities. We look to develop a new vocabulary to engage in discourses around how these sculptural enquiries lead into unknowable territories and spaces of not knowing where often the artistic research is not separable from the art itself and how artists themselves bring new thinking into the world that is often beyond traditional academic understanding. Watch my lecture here The National Sculpture Factory is a place of production; a place where artworks are always becoming, we are interested here not simply in the finished artworks themselves but the disparate origins of ideas that spur artists to make what they make. <img width="1200" height="344" width_o="1200" height_o="344" data-src="https://freight.cargo.site/t/original/i/a6287fb07a2f62471d587bf347658b7519e85d803b8706aef6552cd32b0a1006/unnamed.gif" data-mid="85573711" border="0" src="https://freight.cargo.site/w/1000/i/a6287fb07a2f62471d587bf347658b7519e85d803b8706aef6552cd32b0a1006/unnamed.gif" /> Visions of an Unsettled Earth – Panel discussion ‘Visions of an Unsettled Earth’ is an exhibition that explores ideas of temporality, transience and transformation in the environment. It features new and recent works created by the Cork County-based artists Debbie Godsell, Fiona Kelly and Sarah O’Flaherty. Join us for a panel discussion with the artists and the Cork city-based art critic Sarah Kelleher on Saturday, 3 October, at 2pm.&nbsp; <img width="4128" height="3096" width_o="4128" height_o="3096" data-src="https://freight.cargo.site/t/original/i/872b578b31fcfd4b977ca74cc86c169184710fe9e4ac25ffeae32b2b47be4107/20201003_141026.jpg" data-mid="85573769" border="0" src="https://freight.cargo.site/w/1000/i/872b578b31fcfd4b977ca74cc86c169184710fe9e4ac25ffeae32b2b47be4107/20201003_141026.jpg" /> <img width="1176" height="464" width_o="1176" height_o="464" data-src="https://freight.cargo.site/t/original/i/ab89970c22294333cab25903f8ef29180301ce408566f116370399a48b08a4f3/Screen-Shot-2020-08-06-at-16.16.19.png" data-mid="79263428" border="0" src="https://freight.cargo.site/w/1000/i/ab89970c22294333cab25903f8ef29180301ce408566f116370399a48b08a4f3/Screen-Shot-2020-08-06-at-16.16.19.png" /> <img width="2297" height="2730" width_o="2297" height_o="2730" data-src="https://freight.cargo.site/t/original/i/fb789e05bddc6b07699cdbbf583c35987c4acd0e2134a117537c7a89fb492025/jpegV4-Visions-of-an-Unsettled-Earth---A-new-exhibition-by-Debbie-Godsell--Fiona-Kelly---Sarah-O-Flaherty-1.jpg" data-mid="79263930" border="0" src="https://freight.cargo.site/w/1000/i/fb789e05bddc6b07699cdbbf583c35987c4acd0e2134a117537c7a89fb492025/jpegV4-Visions-of-an-Unsettled-Earth---A-new-exhibition-by-Debbie-Godsell--Fiona-Kelly---Sarah-O-Flaherty-1.jpg" /><img width="1212" height="350" width_o="1212" height_o="350" data-src="https://freight.cargo.site/t/original/i/79692de9547b6f85895c6e0beebfb5f0fe968437c3a90c61b98abcd2432330fc/Screen-Shot-2020-08-06-at-16.16.47.png" data-mid="79263443" border="0" src="https://freight.cargo.site/w/1000/i/79692de9547b6f85895c6e0beebfb5f0fe968437c3a90c61b98abcd2432330fc/Screen-Shot-2020-08-06-at-16.16.47.png" /> Stories from Lismore &amp; Beyond Curated by Paul McCree Lismore Castle Arts. <img width="1124" height="1436" width_o="1124" height_o="1436" data-src="https://freight.cargo.site/t/original/i/d5090d7071bfc831da56e050e4eecd7f7c7a79f958d0055bede87386a187e7a9/Screen-Shot-2020-08-06-at-16.24.24.png" data-mid="79264259" border="0" src="https://freight.cargo.site/w/1000/i/d5090d7071bfc831da56e050e4eecd7f7c7a79f958d0055bede87386a187e7a9/Screen-Shot-2020-08-06-at-16.24.24.png" /> Interview on the Impact of Covid-19 on the Arts Industry. Cáit Caden for The Currency Page currently under contruction.... (Also in the works) Overburden, Triskel Arts Centre, Cork City, IE. (Closed early due to Covid19) Land of Some Other Order, Lavit Gallery, Cork,. IE (Lockdown / never opened) Formed by Chance, Studio 12, Backwater, Cork City, IE. (Solo. Postponed until 2021)New Impressions, Draíocht Arts Centre, Dublin,. IE. (Postponed, under review)a field of multiple destructions, Lecture Series, National Sculpture Factory, IE. (Postponed) Visions of Half-Light, Sirius Arts Centre, Cobh, IE.&nbsp;(Under review) https://fionakelly.co/CV Tue, 21 Apr 2020 14:39:59 +0000 www.fionakelly.co https://fionakelly.co/CV CURRENT &amp; UPCOMING: &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Assitant Lecturer, MTU Crawford College of Art &amp; Design. PhD Canditate, National College of Art &amp; Design, Dublin. (2021-2027)Oh, the Thinks You Can Think, LHQ Gallery, Cork. IE. (2025) Tyrone Guthrie Residency Award, Cork County Council. IE. (2025) Allow to Fall Low, Allow to Fallow, PhDExhibition, Luan Gallery, Athlone, IE. (2026) Artist in Residence, GannonEco; Waste Repurposing Plant. IE.(2021-2027)The Cabin Residency, Road Books, Inniscarra, Cork. IE.(2026) Studio Artist, National Sculpture Factory. IE (2026) &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; SELECTED SOLO EXHIBITIONS: 2023:&nbsp; &nbsp; A Demarcation of Time, Ashford Gallery, RHA, IE. Curated by Sarah McAuliffe. 2022:&nbsp; &nbsp; A Temporary Iteration, SIRIUS Arts Centre, Cork, IE. 2020:&nbsp; &nbsp; Overburden, Triskel Arts Centre, Cork City, IE. 2018:&nbsp; &nbsp; The Dirt That Measures All Our Time, Mermaid Arts Centre, Wicklow, IE.&nbsp; 2018:&nbsp; &nbsp; The Great Heap, Luan Gallery, Westmeath, IE. 2017:&nbsp; &nbsp; The Great Heap, Leitrim Sculpture Centre, IE. 2016:&nbsp; &nbsp; Dust Breeding, GOMA, Gallery of Modern Art, Waterford, IE. 2014:&nbsp; &nbsp; Unusable Monuments, Cork Printmakers, Cork. IE. 2014:&nbsp; &nbsp; Missing Something Which No Longer Exists, 126, Galway, IE. 2013:&nbsp; &nbsp; There are Thousands of Taps Dripping, Ratamo Gallery, Jyväskylä, Finland. FI. AWARDS: 2025:&nbsp; &nbsp; Arts Council of Ireland, Project Award (Strand 2: Production) 2024:&nbsp; &nbsp; Arts Council of Ireland, Agility Award. 2024:&nbsp; &nbsp; Artist In Residence, The Model Sligo. IE. 2023:&nbsp; &nbsp; Westmeath Artist Support Award, Westmeath Arts Council. 2023:&nbsp; &nbsp; Arts Council of Ireland, Agility Award. 2023:&nbsp; &nbsp; Artist Placement, KinSHIP, Tramore Valley Park. IE. 2021:&nbsp; &nbsp; PhD Scholarship, National College of Art &amp; Design, Dublin, IE. 2021:&nbsp; &nbsp; Arts Council of Ireland, Project Award.2020:&nbsp; &nbsp; Arts Council of Ireland, Individual Artist Bursary.2020:&nbsp; &nbsp; Arts Council of Ireland, Covid-Response Award.2019:&nbsp; &nbsp; Cork County Arts Council, Creative Artist Bursary.2017:&nbsp; &nbsp; Cork City Arts Council, Individual Artist Bursary. (2015/14)2016:&nbsp; &nbsp; Culture Ireland Award, Supporting International Projects in Finland &amp; China (2011).2015:&nbsp; &nbsp; Purchase Prize, Impressions Biennial, Selected by David Ferry.2014:&nbsp; &nbsp; Arts Council of Ireland, Arts Council of Ireland, Individual Artist Bursary.2013:&nbsp; &nbsp; Arts Council of Ireland, Travel and Training Award. (2011) 2011:&nbsp; &nbsp; Cork City Twinning Grant, The Don Gallery, Shanghai, CN. AWARDED RESIDENCIES: 2024:&nbsp; &nbsp; Artist in Residence,&nbsp;The Model Niland, 2023:&nbsp; &nbsp; Artist Placement, KinSHIP, Tramore Valley Park. Curated by Lennon/Taylor. IE. 2019:&nbsp; &nbsp; The Cabin Residency, Cork County Arts Council Award, Road Books,Cork. IE. 2017:&nbsp; &nbsp; Leitrim Sculpture Centre, Solo Exhibition and Residency Award. IE.2016:&nbsp; &nbsp; Awarded Residency, EIARA, The Burren College of Art. IE. 2013:&nbsp; &nbsp; European Pépinières pour Jeunes Artistes, MAP, 6 Month Residency Award. FI. 2012:&nbsp; &nbsp; Ruth Katzman Scholarship Residency Award, The Art Students League of NY. US 2012:&nbsp; &nbsp; Arts Council of Wales, Awarded Teaching Residency, Swansea Print Workshop. UK. 2011:&nbsp; &nbsp; Artist in Residence Award, Jyväskylä Centre for Printmaking, Finland. FI. 2010:&nbsp; &nbsp; Artist in Residence Award, Ateliers BaZtille, Zoetermeer, The Netherlands. NL. PRESENTATIONS/ LECTURES: 2024:&nbsp; &nbsp; Radical Humanities Conference, University College Cork. IE. 2024:&nbsp; &nbsp; Radical Entanglement &amp; Environmental Residues in Visual Art Practice. NCAD IE 2021: &nbsp; &nbsp;&nbsp; A Passive House; Open conversation with Ali O’Shea. Rebel Reads, Cork. IE. 2021: &nbsp; &nbsp; The Human Animal, Video Podcast with Carol Anne Connolly &amp; Sarah Kelleher. &nbsp; &nbsp;&nbsp; 2020:&nbsp; &nbsp; a field of multiple destructions, Artist Lecture Series, National Sculpture Factory, IE. 2019: &nbsp; &nbsp; Peatlands in the Imagination; A Revolution in How We Live, U.C.C. Cork. IE. 2019:&nbsp; &nbsp; Printmaking in the Contemporary Landscape, The National Gallery of Ireland. IE. 2019:&nbsp; &nbsp; Fallow Land; The Importance of Being Still, St. Luke’s Crypt, TACTIC Gallery, Cork, IE. 2018:&nbsp; &nbsp; How Did I Get Here? Studio 12 Launch, Backwater, Cork, IE. 2016: &nbsp; &nbsp; Artists Speak, VAI Get Together, IMMA, Irish Museum of Modern Art, Dublin, IE. 2016: &nbsp; &nbsp; Walking as Research, Visiting Lecturer, The Burren College of Art, NUIG, Co. Clare, IE. 2016:&nbsp; &nbsp; Expanded Printmaking, Visiting Lecturer, Art Academy of Riga, Latvia. LV. 2014:&nbsp; &nbsp; Professional Development, Lecture, Crawford College of Art, Cork, IE. 2013:&nbsp; &nbsp; There are Thousands of Taps Dripping, Ratamo Galleria, Jyväskylä, Finland. FI. &nbsp; &nbsp;&nbsp;&nbsp;&nbsp; 2013:&nbsp; &nbsp; Expanded Practice in Contemporary Printmaking, Spike Island (Print), Bristol, UK. 2011:&nbsp; &nbsp; This constant movement of Bricks, Galleria Harmonia, Jyväskylä, Finland. FI. &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; SELECTED&nbsp;JOINT EXHIBITIONS: 2021:&nbsp; &nbsp; Below, &amp; Time Between, Studio 12, Backwater, IE. With Carol Anne Connolly 2020:&nbsp; &nbsp; Visions of an Unsettled Earth, Sirius Arts Centre, IE. With Debbie Godesell &amp; Sarah O’Flaterty&nbsp;2014:&nbsp; &nbsp; On the Edge of a Blue Sky, The Courthouse Gallery. IE. With Lorraine Walsh2011:&nbsp; &nbsp; Conversations amongst Endpoints, The Don Gallery, Shanghai, CH. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; With Edel O’Reilly &amp; Amanda Rice2009:&nbsp; &nbsp; The Kitchen Table. Art Trail: Rediscovering Locality, IE. With Amanda Rice2007:&nbsp; &nbsp; Reykjavik Winter Lights Festival, SÍM Seljavegur, Reykjavík, IS. With Sigbjørn Bratlie SELECTED GROUP EXHIBITIONS: 2024:&nbsp; &nbsp; At First/ I was Land, Curated by Niamh Brown, Studio 12, Backwater, Cork. IE. 2024:&nbsp; &nbsp; Let the Mirror Express the Room, Curated by Benjamin Stafford, Luan Gallery, IE 2024:&nbsp; &nbsp; Fictions: The makings of other worlds, Dublin Art Book Fair, Temple Bar Gallery, IE 2024:&nbsp; &nbsp; Radical Archaeologies: Unearthing landscape. GLUCKSMAN, Cork. IE 2024:&nbsp; &nbsp; Ar Seiz Avel, Parlement de Bretagne,&nbsp;Rennes, FR 2023:&nbsp; &nbsp; Sa Lár, Luan Gallery, Athlone, IE. Curated by Emer McGarry 2023:&nbsp; &nbsp; Groundwork, GLUCKSMAN, Cork. IE. 2023:&nbsp; &nbsp; URBAN/FIELD, Cork printmakers, IE two Person show with Ciara Rodgers 2023:&nbsp; &nbsp; Tentacular Thinking, James Barry Exhibition Centre, MTU, IE. Curated by Lennon/Taylor 2023:&nbsp; &nbsp; Associative Relations, Studio 12, Cork, IE. Curated by Pádráig Spillane. 2023:&nbsp; &nbsp; Visions of an Unsettled Earth, The Hunt Museum, Limerick. IE. 2023:&nbsp; &nbsp; Hand of Man, Backwater Artist Group, Cork. IE. Curated by Stella Kramer. 2023:&nbsp; &nbsp; RADHARC: Perspectives in Print, Crawford Art Gallery, Cork, IE. 2022:&nbsp; &nbsp; Graphica Creativa Triennale, Jyväskylä Art Museum. Curated by Teija Lammi. FI. 2022:&nbsp; &nbsp; The point of truth, beauty and knowledge, Künstlerhaus Dortmund, Germany. GR.2022:&nbsp; &nbsp; &nbsp; &nbsp; Botanica; The Art of Plants. Crawford Art Gallery, Cork. Curated by Michael Waldron. IE 2022:&nbsp; &nbsp; &nbsp; &nbsp; The Space We Occupy, IAC, NYC &amp; Solas Nua, Washingon DC. Curated by Miranda Driscoll. US. 2022:&nbsp; &nbsp; &nbsp; &nbsp; Ulysses; Centenary. Graphic Studio Dublin. Curated by Anne Hodge. IE. &nbsp; &nbsp; 2021:&nbsp; &nbsp; &nbsp; &nbsp; Rembrandt in Print, Print Studio, Crawford Art Gallery. Cork, IE.&nbsp; &nbsp; 2021:&nbsp; &nbsp; &nbsp; &nbsp; In-Florescence, Nano Nagle Gallery, Cork, IE.&nbsp; &nbsp; 2021:&nbsp; &nbsp; &nbsp; &nbsp; New Threads. Crawford Art Gallery Acquisitions. Curated By Michael Waldron.IE. 2021: &nbsp; &nbsp; &nbsp; &nbsp;New Perspectives. Acquisitions 2011–2020, National Gallery of Ireland. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp;Curated by Sean Rainbird.&nbsp;IE. 2020: &nbsp; &nbsp;&nbsp;&nbsp; Land of Some Other Order, Lavit Gallery, Cork, Curated by Paul McAree. IE.2020:&nbsp; &nbsp; &nbsp;&nbsp; Mouth of a Shark, Edinburgh Printmakers Gallery, Scotland. UK. 2020: &nbsp; &nbsp; &nbsp; Stories from Lismore and beyond, Lismore Castle Arts, Curated by Paul McAree. IE. 2020: &nbsp; &nbsp;&nbsp;&nbsp; New Impressions, Draíocht Arts Centre, Dublin, Curated by Sharon Murphy. IE 2019:&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Field Study, The Auxiliary, Middlesbrough, UK. 2019: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The New State, Graphic Studio Gallery, Dublin, IE. 2019: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Land is Still Being Formed, Sternview Gallery, Cork. IE. 2019: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; See You Tomorrow, Sirius Arts Centre, Cobh. IE. 2019: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Northern Beaches Book Awards, The Manly Art Gallery and Museum, Australia. AU. 2019: &nbsp;&nbsp; &nbsp; &nbsp;Fremantle Arts Centre Print Awards, Fremantle, Western Australia. AU. 2019: &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;VUE; Ireland’s National Contemporary Art Fair, RHA, Dublin, IE. 2018: &nbsp; &nbsp; &nbsp;&nbsp;Double Take, Glucksman Gallery, Cork. IE. 2018: &nbsp; &nbsp;&nbsp;&nbsp; Sustainable Futures, Sirius Arts Centre, Cobh, IE. 2018:&nbsp; &nbsp; &nbsp; &nbsp;Ungrounded, Studio 12, Cork, IE. &nbsp; 2018: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Stampa Ora, Cork Printmakers &amp; Italian Association of Contemporary Engravers &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Fondazione Villa Benzi Zecchini, Treviso, IT. Universita degli Studi di Sassari, Sardinia. IT. &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Crawford Art Gallery, Cork, &amp; Garter Lane Arts Centre, Waterford, IE. 2017:&nbsp; &nbsp; &nbsp; &nbsp; Locales, Doswell Gallery, Rosscarbery, IE. 2017:&nbsp; &nbsp; &nbsp; &nbsp; The Dispersed Gallery, Offsite Locations, in Association with the MIMA. UK. 2017:&nbsp; &nbsp; &nbsp; &nbsp; Geological Cake, BCA Gallery &amp;126 Gallery, IE. 2017:&nbsp; &nbsp; &nbsp; &nbsp; NEU NOW Festival 2016, Online Festival, Amsterdam, The Netherlands. NL. 2016: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I Went to the Woods, the artist as wanderer, GLUCKSMAN Gallery, IE. 2016: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; YOU MAKE MINE, I MAKE YOURS, Ratamo Galleria, Jyväskylä, Finland. FI. 2015: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; What Happens When Nothing Else Does, MA:AP, Crawford College of Art. IE. 2015: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Statements, SNAP3, International Printmaking Symposium, Germany. GR. 2015: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Silver, West Cork Arts Centre, Skibbereen, Co. Cork. IE. 2015: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; TWEETBOX, Printmaking in the Post-Print Age, Impact 9, Hangzhou, China. CH. 2014:&nbsp; &nbsp; &nbsp; &nbsp; HEXAGON, Mermaid Arts Centre, Bray, Co. Wicklow. IE. 2014:&nbsp; &nbsp; &nbsp; &nbsp; Cachet de la Poste Faisant Foi, Villa Mallet-Stevens, Paris, FR. 2014:&nbsp; &nbsp;&nbsp;&nbsp;&nbsp; Little Kingdoms, Catalyst Arts Gallery, Belfast. NI. 2013:&nbsp; &nbsp; &nbsp; &nbsp; POST-IT, Boarders and Crossings, IMPACT8, Dundee, Scotland. UK. 2013:&nbsp; &nbsp; &nbsp; &nbsp; The Mythical and Mundane, Siamse Tire, Kerry. IE. 2013:&nbsp; &nbsp; &nbsp; &nbsp; Drawn to Print, Spike Island, Bristol, U.K. 2012:&nbsp; &nbsp; &nbsp; &nbsp; Impressions, Galway Arts Centre. IE. Selected by Norman Ackroyd. 2012:&nbsp; &nbsp; &nbsp; &nbsp; Big Visual Dynamite, TACTIC, Cork Culture Night, IE. 2012:&nbsp; &nbsp; &nbsp; &nbsp; Hack the City; Artvertiser Project, Science Gallery, Dublin, IE. 2011:&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Have you seen a Monkey? Fact and Fiction in an Irish Landscape, Banagher, IE. 2011 &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Wat Blijft komt Nooit Terug, Ateliers BaZtille, Zoetermeer, The Netherlands. NL. 2011:&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; Impressions, Galway Arts Centre, Galway, IE. 2011:&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; Road Roller Project, Cork Printmakers in association with ArtTrail, Cork, Ireland. 2011:&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; Cork Contemporary Projects, Engage Arts Festival, Bandon, Cork, Ireland. 2008:&nbsp; &nbsp; &nbsp; &nbsp; Impressions, Galway Arts Centre, Galway , IE. 2008:&nbsp; &nbsp; &nbsp; &nbsp; Tales from the Black Lodge, Altered Esthetics, Minneapolis, US. 2008:&nbsp; &nbsp; &nbsp; &nbsp; Fledglings, The Lavit Gallery, Cork , IE. 2007:&nbsp; &nbsp; &nbsp; &nbsp; Auf getz; Belmont Mill, Offaly, IE. 2007:&nbsp; &nbsp; &nbsp; &nbsp; Fear Not, Iontas, Sligo Art Gallery, Sligo, IE. 2007:&nbsp; &nbsp; &nbsp; &nbsp; Holga, Monster Truck Gallery, Francis St., Dublin, IE. 2006:&nbsp; &nbsp; &nbsp; &nbsp; Death Swap; Cannonball press, AD HOC Gallery, Brooklyn, NY, US. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;SELECTED WRITINGS/ REVIEWS: 2024:&nbsp; &nbsp; Williams, Dawn, At Fairst I Was Land, Essay.&nbsp; 2023:&nbsp; &nbsp; Campbell, Susan, A Demarcation of Time, VAN. 2022: &nbsp;&nbsp; Kelleher, Sarah, A temporary Iteration, Paper Visual Art, Journal Vol 14. 2022:&nbsp; &nbsp; O’Shea, Ali, Encountering Slowscapes; Published Printed Object. 2021:&nbsp; &nbsp; &nbsp;Long, Sarah, Interview, The Paper. 2022:&nbsp; &nbsp; &nbsp;O’Shea, Ali, Encountering Slowscapes; Published Printed Object. 2020:&nbsp; &nbsp; Kelleher, Sarah, Overburden, The Sunday Times Review. 2020:&nbsp; &nbsp; Amado, Miguel, Overburden, Essay. 2019:&nbsp; &nbsp; Long, Sarah, VAN, See You Tomorrow, VAN Critique, Summer Issue. 2019:&nbsp; &nbsp; O’ Donnell, Annie, Corridor8. Field Study Review, The Auxiliary. 2019:&nbsp; &nbsp; Hodge, Anne, Making Their Mark, Catalogue text, National Gallery of Ireland.2018:&nbsp; &nbsp; Clarke, Chris, Work at Rest, Essay. 2018:&nbsp; &nbsp; Clancy, Luke, Art Review, Sustainable Futures, April 018 Issue. 2018:&nbsp; &nbsp; Wilkinson, Judith, Frieze, I Am Now a Saint’: Brian O’Doherty Turns 90,Review. 2018:&nbsp; &nbsp; North, Kirstie, VAN, Sustainable Futures, Spring 2018 Issue. 2018: &nbsp; &nbsp; Chenu, Rachel, PausArt,&nbsp; Feature. 2018:&nbsp; &nbsp; Kelleher, Sarah, Visions of Half-Light, Catalogue text. 2018:&nbsp; &nbsp; North, Kirstie, Natural Histories, Catalogue text. 2016:&nbsp; &nbsp; Jewesbury, Daniel , 126 Quarterly, Visual Art Publication. 2015:&nbsp; &nbsp; O’ Donnell, Niamh, Dwyer, Emma; VAN, Solidarity and Connectivity, Spring Issue. 2014:&nbsp; &nbsp; Singh, Abhilasha, Watchlist Artist, ArtSlant Worldwide. ACADEMIC POSITIONS: 2020:&nbsp; &nbsp; Assistant Lecturer, Crawford College of Art &amp; Design (MTU) IE. 2016: &nbsp; &nbsp; Visiting Lecturer, The Burren College of Art, NUIG, Co. Clare, IE. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Visiting Lecturer &amp; Workshop Instructor in Print, Art Academy of Riga, Latvia. LV. 2014: &nbsp; &nbsp; &nbsp; Visiting Lecturer in Professional Development, Crawford College of Art, Cork, IE. &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Visiting Lecturer in Relief Printmaking, Crawford College of Art, Cork, IE. 2012: &nbsp; &nbsp; &nbsp; Master class Instructor in Relief Printmaking &amp; Drawing, SPW, Wales. UK. PROFESSIONAL EXPERIENCE: 2020: &nbsp; &nbsp; &nbsp;Gallery Technician, GLUCKSMAN Gallery, U.C.C. (2019,2018) 2019: &nbsp; &nbsp; &nbsp; Fine Print Editioning, in Etching, Photopolymer, &amp; Relief. (2018) &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Freelance Gallery Technician, Exhibition Installation Work in Various Venues. 2016: &nbsp; &nbsp; &nbsp; Project Member, Flags for the Townlands, Cork City Public Art by Tom Doig. 2014: &nbsp; &nbsp; &nbsp; Project Member, Singers Corner, Cork City Arts Public Art Project by Johnny Bugler. 2009-12:Cork Contemporary Projects Artist Led Initiative. EDUCATION: 2019: &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;Furniture Making &amp; Design, 1:1, QQIL5, CSN, Cork.2015: &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;MA in Art &amp; Process, 1:1, Crawford College of Art, Cork. 2008: &nbsp; &nbsp; &nbsp;B.A (Honours) in Fine Art, Printmaking, 2:1, Crawford College of Art, Cork. https://fionakelly.co/contact Tue, 21 Apr 2020 15:28:59 +0000 www.fionakelly.co https://fionakelly.co/contact ︎&nbsp;fioneekelly@gmail.com ︎&nbsp;Cork Printmakers ︎Backwater Artist Studios ︎National Sculpture Factory https://fionakelly.co/Texts Fri, 24 Apr 2020 09:45:01 +0000 www.fionakelly.co https://fionakelly.co/Texts Encountering Slowscapes Words by Ali O’Shea in responce to Fiona Kelly’s exhibition A Temporary Iteration&nbsp;at the SIRIUS Arts Centre, 2022. Available to purchase from the Artist €5 +pp ISBN:978-1-7391279-0-9 Read ︎︎︎ Visions of an Unsettled Earth An essay by Sarah Kelleher published for the occasion of Visions of an Unsettled Earth&nbsp;an exhibition by Debbie Godsell, Sarah O’Flaherty &amp; Fiona Kelly. Produced by the Sirius Arts Centre 2020. <img width="1200" height="255" width_o="1200" height_o="255" data-src="https://freight.cargo.site/t/original/i/29f0376855fb5c4f89a3893eacc96f71199d9af24827981cc661c56dc6f74615/unnamed-2.jpg" data-mid="85572647" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/29f0376855fb5c4f89a3893eacc96f71199d9af24827981cc661c56dc6f74615/unnamed-2.jpg" /> Read ︎︎︎&nbsp; Overburden An essay by Curator Miguel Amado on Fiona Kelly’s exhibition Overburden at the Triskel Arts Centre, 2020. Produced by Cork Printmakers &amp; Cork County Council. Read ︎ Work at RestAn essay by Curator and Critic Chris Clarke on Fiona Kelly’s exhibition The Dirt That Measures All Our Time.&nbsp; Produced by the Mermaid Arts Centre 2018. Read&nbsp;︎ Natural Histories An essay by Dr. Kirstie North on the work of Margo McNulty &amp; Fiona Kelly produced by the Luan Gallery 2018. Read ︎ Visions of Half Light Catalogue essay by Sarah Kelleher published for the occasion of&nbsp;Visions of Halflight an exhibition by Debbie Godsell, Sarah O’Flaherty &amp; Fiona Kelly. Produced by Cork County Council 2018. Read ︎ Selected Reviews At First I Was LandReview by Dawn Williams 2024Read ︎ A Demarcation of TimeReview by &nbsp;Susan Campbell 2023 Read ︎ VAN In The Galleries Review by Mark Jenkins Read︎︎︎ The Washington Post OverburdenReview by Sarah Kelleher The Sunday Times 2020 Read ︎ The Sunday Times; Culture Field StudyThe Auxillary, UK. Review by Annie&nbsp;O’ Donnell 2019 Read ︎&nbsp;Corridor8 Sustainable FuturesSirius Arts Centre. Review By Luke Clancy. 2018 Read ︎Art Review Sustainable FuturesReview by Dr. Kirstie North. 2018 Read ︎VAN Double Take&nbsp;Glucksman Gallery Review by Judith Wilkinson 2018 Read&nbsp;︎Frieze INTERVIEWS/TALKS/LECTURES The Space We Occupy&nbsp; Opening Night Artist Panel Discussion Watch ︎ Irish Arts Center NYC About Eskers&nbsp;Geoglogist Dr Robert Meehan in conversation with artist Fiona Kelly in the context of her exhibition 'A Temporary Iteration'. Watch ︎&nbsp; A Temporary Iteration &nbsp; Interview with Ellie O’Bynre Listen ︎ Sirius Podcasts The Paper Interview by Sarah Long, Read ︎The Paper A field of multiple destructions Loquium Summer Series A Lecture By Fiona Kelly Watch ︎ National Sculpture Factory <img width="1186" height="1194" width_o="1186" height_o="1194" data-src="https://freight.cargo.site/t/original/i/0f6b7907099cb7482fb0fa13f7603f292a6c1cc31a6590db540a67d8feab17ad/Screen-Shot-2020-04-23-at-15.17.16.png" data-mid="68312322" border="0" src="https://freight.cargo.site/w/1000/i/0f6b7907099cb7482fb0fa13f7603f292a6c1cc31a6590db540a67d8feab17ad/Screen-Shot-2020-04-23-at-15.17.16.png" /> https://fionakelly.co/Ali-O-Shea-Encountering-Slowscapes Mon, 27 Oct 2025 17:33:30 +0000 www.fionakelly.co https://fionakelly.co/Ali-O-Shea-Encountering-Slowscapes &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Encountering Slowscapes Ali O’Shea Fiona Kelly's new work A Temporary Iteration is an encounter with nineteen 3D pieces made from birch ply and other materials onto which a sequence of moving images is projected and a soundtrack interacts. These sculptures are enlarged scalenohedrons, a crystal formed from calcite, a mineral much of our world is made up of. It is also the primary element of the Esker Riada, the subject matter contained within the mapped projection, which appears and disappears on the sculptures' surfaces, each becoming a screen momentarily. The Esker Riada is a system of eskers which stretches from Dublin to Galway, a natural halving of the island of Ireland. An esker is a long ridge which occurs when a glacier melts or partially retreats, leaving behind an edge. The Esker Riada has been a longstanding Irish site of quarrying and extraction. Kelly engaged in a residency in Gannon Eco whilst producing this work. Gannon Eco, previously a quarry, is now a repurposing plant based on the Esker Riada in County Westmeath. The plant has been extensively rewilding parts of the old quarry and takes in large quantities of waste, such as glass, to create new ways for it to exist. Kelly has been collaborating with Gannon Eco since 2015, a longstanding relationship that has enabled her to utilise their materials in previous works. The enlarged scalenohedrons take on many different forms as they slowly change. The viewer is met with landscapes, close-ups of grassland and flora, and then vast "slowscapes" of endless waste. The contrasting of images of nature, discarded materials, and ambient sound create an eery stillness. Kelly’s imagined topography champions the earth beneath us. The idea of fallowness and stillness has been a continuous stream of exploration for her. This work highlights the matter and possibility created when we do nothing, continuously questioning what it is to be productive. The work explores the Esker Riada, part of it located in what was previously a quarry and is now a space where extraction has ceased. We have learned that production creates new objects; however, these spaces are created when something stops. Kelly continuously questions her activity as an artist, with art being a field producing objects in an already material-saturated world. If you are to make work which comments on s sustainability, is it possible to do so through object production? The way in which Kelly has previously described her navigation of this dilemma or tension is by creating works that can exist in different iterations again and again. The enlarged scalenohedrons in themselves tessellate together to fit inside two small crates. They are easily transportable and can be put together effortlessly, even without the artist's presence. Kelly references the idea of “solastalgia,” a theory advanced by Glenn Albrecht that “describes existential distress caused by climate change.” The Esker Riada is a space which has been extracted from since the eighteenth century, and quarrying is still happening today. Parts of it are protected habitats, but the landmass itself remains unprotected. This landmass, when left fallow, creates flora such as wild orchids. Kelly does not describe the work as a call to action or a means to tell people what to do or think. Instead, she proposes a conversation around the Esker Riada, and more broadly land use, the possibilities of stopping, giving back and rewilding. If we consider this work a means to dialogue, what are we left with to reflect upon? The play with scale through the enlarged scalenohedrons brings our scale, as humans, to mind, suggesting our presence within a much larger time scale and terrain. Our being is minute in relation to Earth, yet we have claimed so much of it through production, magnifying our existence on it. This work not only celebrates the earth beneath us in its most basic form, but also the possibility of fallowness, the end of measuring our production. Kelly takes a careful and considered approach to sustainability, and touches upon it in many ways. Sustainability is a loaded word which surfaces a lot; however, much of its currency is shallow. On the other hand, sustainability is a topic that most of us consider daily, and we have learned that being sustainable is an action. This work presents an alternative, an undoing, the possibility in nothing, serving as a metaphor for a practice which truly and profoundly considers the environment, the work, the artist, the object, and the subject matter it engages with. Text by Ali O’Shea Commissioned by the SIRIUS Arts Centre and Published on the Occasion of the Exhibition A Temporary Iteration 2022 <img width="2338" height="1484" width_o="2338" height_o="1484" data-src="https://freight.cargo.site/t/original/i/f58ce918bdfc4c9f9e2b30111c2f06b1ee9deaa26be1f51ff015616f154ba324/img20240926_10280600.jpg" data-mid="239978231" border="0" src="https://freight.cargo.site/w/1000/i/f58ce918bdfc4c9f9e2b30111c2f06b1ee9deaa26be1f51ff015616f154ba324/img20240926_10280600.jpg" /> <img width="2310" height="776" width_o="2310" height_o="776" data-src="https://freight.cargo.site/t/original/i/5ac30f8d4e432cbe53f7d46b987bc5fbaa69ac3fd25562c47634fc2ea8329895/03.KellyFiona_a-temporary-iteration_text.png" data-mid="239978198" border="0" src="https://freight.cargo.site/w/1000/i/5ac30f8d4e432cbe53f7d46b987bc5fbaa69ac3fd25562c47634fc2ea8329895/03.KellyFiona_a-temporary-iteration_text.png" /> https://fionakelly.co/Sarah-Kelleher-Visions-of-an-Unsettled-Earth Wed, 14 Oct 2020 14:45:44 +0000 www.fionakelly.co https://fionakelly.co/Sarah-Kelleher-Visions-of-an-Unsettled-Earth <img width="1200" height="344" width_o="1200" height_o="344" data-src="https://freight.cargo.site/t/original/i/71a5bc99a3daa99e1466e923e3a7acb1db0b3b4896ebf40628d5481dcfbeae6a/unnamed.gif" data-mid="85573218" border="0" src="https://freight.cargo.site/w/1000/i/71a5bc99a3daa99e1466e923e3a7acb1db0b3b4896ebf40628d5481dcfbeae6a/unnamed.gif" /> Visions of an Unsettled Earth Sarah Kelleher I saw the first iteration of ‘Visions of an Unsettled Earth’ in the summer of 2018 when Debbie Godsell, Fiona Kelly and Sarah O’Flaherty presented ‘Visions of Half-Light’ in the town hall in Macroom, County Cork. So much has changed since then, and the themes of this body of works are even more pressing and pertinent now: a deep concern with the environment, or our fraught connection to place; an exploration of time, of the overlapping temporalities inscribed in different materials, and further, in the agencies and vitalities of materials that surround us. This show’s title, ‘Visions of an Unsettled Earth’, brings to mind a construct devised by literary theorist Emily Apter, which aptly describes our current moment. Her formulation, ‘planetary disphoria’[i], borrows from psychologist Melanie Klein’s formulation ‘depressive position’ and derives from the Greek dysphoros, which means to endure that which is difficult. It describes ‘an unpleasant or uncomfortable mood: sadness, a downer moment, anxiety, restlessness, irritability, spleen, manic swings, withdrawal … and the total evacuation of euphoria.’[ii] Apter’s phrase doesn’t just describe the emotional experience of pandemic and lockdown, but rather a planetary dimension of melancholia, a ‘geo-psychoanalytic state of the world at its most unquiet, awaiting the triumphant revenge of acid, oil and dust.’[iii] So, as philosopher Ben Ware wrote, ‘we don’t need to act “as if” environmental catastrophe has happened, or will happen, because – as the COVID-19 pandemic has made abundantly clear – the future of recurring disasters linked to climate change and ecological destruction has already arrived – indeed, they are all part of one and the same crisis. Our task is thus not to try to avert the worst by prophesying it, but rather to find ourselves within the current moment of crisis and catastrophe, to take the reality of extinction as our starting point, … and to recall Walter Benjamin’s words that revolutions aren’t necessarily the locomotives of world history, but “an attempt by the passengers on [the] train ... to activate the emergency brake.”’[iv] But finding one’s feet and knowing how to proceed is not a straight-forward task. There’s a kind of psychic disorientation that one experiences when forced to consider the scale of our darkening situation. The neoliberal onus on personal responsibility, on making changes in consumer behaviour – buying a bamboo toothbrush, carrying your keep cup – is essentially a commodified sustainability, and feels at best ineffectual. Instead, as artist Jonas Staal argues, we must acknowledge that ‘our ecosystem is changing. It no longer consists merely of forests and icebergs, but also of toxic flooding and geographies of plastic. These new forms of agency have to be the start, he argues, of a broader political, economic, and social change. More than preservation, we need transformation.’[v] So, the themes that link the works in this show are those of connection and transformation. Firstly, the forging of connection to place through an intimate understanding of a specific landscape or environmental system. The artists don’t address landscape or environment as an abstract concept but demonstrate a granular engagement with its specificities in terms of folklore, in terms of memory, in terms of material. This visceral, tactile connection with environment doesn't position land or ecology as something outside of us, but something that we are native to, and one that produces us, even as we – physically, conceptually, discursively – produce it. These richly divergent works – sculptural scrolls and briquettes of stacked papers, ferns mummified and precariously propped, a fragile ecosystem in a plastic planter – are also linked by a shared engagement with transformation. Transformation is understood here less, or not only, as a manipulation of material, but an engagement with the agency of inhuman systems around us, and the longer histories of which we are part. This enquiry is reflected in a shared interest in material and in process, specifically the process of accretion, the layering, stacking or propping of images, or plywood or plaster. Debbie Godsell overlays imagery drawn from local folklore, memories and portraits, until each ribbon of images becomes a kind of hypertext, embedded with mnemonic links to other texts, images and ideas. Going Over Old Ground (2018), an epic scroll 25 meters long and printed over twelve months, hangs in swags and arcs over a series of ladders and wooden stands, looped over cradles like washing hung out to dry. The word scroll now conjures the verb rather than the artefact; to scroll meaning to skim through rapidly but perhaps distractedly, with attention divided. As such, it can be understood as relating a sense of our present day experience of landscape as unanchored and disembodied – something that passes by outside the car window, unspooling like film. Godsell’s piece, however, forces us to slow down, to parse her complex image/texts, too unwieldy and excessive to be taken in at a glance. Sarah O’Flaherty blends the organic and the mineral to investigate temporal states. She dips tangles of bracken in cement, so that they become ossified, bone-like and unfamiliar. The cement encases and preserves the organic matter, but also obliterates it, blurring its shape. The ferns are caught at a specific moment, arrested in their unfurling, trapped in concrete and iron dust, and so the whole collapses wildly different temporalities; the brief lifecycle of a plant, and the incomprehensible longevity of iron &nbsp;in a deliberately quixotic gesture – to preserve the ephemeral, in a material that is itself gradually disintegrating. In her photographs, close-ups of plants choked in poly tunnels, this timeline has been alarming accelerated, seemingly poised on a knife edge between vigorous growth and immanent suffocation. This series was started in 2018 but the images are newly anxious, not only tinged with apprehension of the increasingly precarious ecology of plant-life, threatened by perpetually diversified political and economic practices of climatic destruction, but also by the aggravated sense of the dangers to life in general under a pandemic. Entropy proposes that physical systems move towards increased disorder and the dissolution of form; and dust, according to philosopher Georges Bataille, is a necessary and perfectly entropic corollary of overproduction.[vi] Fiona Kelly is interested in the potential of waste, specifically of construction waste, recycled to make new forms. The Great Heap (2017) is an enlargement of an image of rubble and dust printed in bitumen onto plywood sheets. Stone or rock implies permanence, but rubble is more readily understood as detritus; likewise plywood is a cheap composite of fragments, while bitumen is the sticky and dirty by-product of the distillation of crude oil. The frugality of these materials lends her objects a certain sense of impermanence, as if they will, in the long term, crumble and decay and leave no trace. This ephemerality is not melancholy though, but also signals resilience and renewal. that time, when time itself changed(2020), for example, is a crystal of salvaged acrylic glass, based on the molecular structure of limestone – it acts as a glittering habitat for succulents, resting on a disc printed with more rubble. Rubble, as Kelly reminds us, is not just waste, but substrate, a support that can enable life. Perhaps these works are linked less by entropy than by an assertion of multiple, overlapping temporalities. The scroll, with its layered images; the calcified plants; rubble printed in bitumen – each layering of materials as a corollary to the accrual of time, bringing together competing ideas of decay and renewal, loss and persistence. Leaving aside any romantic notions of alchemy or valorised nature, each work becomes a ‘temporal knot, a mixture of past and present’, revealing what persists or ‘survives’, and proposing new forms.[vii] Apter’s planetary disphoria describes a melancholic earth and a depressive position characterised by, among other things, disorientation, dejection and an inhibition of all activity. Vitally, the works in this show are not bleakly pessimistic, neither are they falsely romantic or utopian. Instead, they propose subtle strategies of reconnecting with our embattled surroundings, and of imagining new forms through an engagement with local histories, or attending to the unexpected, spontaneous properties of matter, or the inconceivable yet precarious resilience of plant life. [i] Emily Apter, ‘Planetary Dysphoria’, Third Text, 27:1 (2013), pp. 131-140 [ii] Id., p. 139 [iii] Ibid., p. 140 [iv] Ben Ware, ‘Nothing but the End to Come? Extinction Fragments’, e-flux journal, 111 (2020), pp. 1-11, p. 3 [v] Jonas Staal, ‘Climate Propagandas’, e-flux journal, 108 (2020), pp. 1-15, p. 10 [vi] Yve-Alain Bois and Rosalind Krauss, ‘A User’s Guide to Entropy’, October, 78, (1996), pp. 38-88, p. 82 [vii] Claire Bishop, Radical Museology, or, What’s ‘Contemporary' in Museums of Contemporary Art?, London: Koenig Books, 2014, p. 20 <img width="1200" height="255" width_o="1200" height_o="255" data-src="https://freight.cargo.site/t/original/i/fa8b59960367e1384a644929623d086655fe7530dd847d75e7ff45ec34ab9312/unnamed-2.jpg" data-mid="85573299" border="0" src="https://freight.cargo.site/w/1000/i/fa8b59960367e1384a644929623d086655fe7530dd847d75e7ff45ec34ab9312/unnamed-2.jpg" /> https://fionakelly.co/Miguel-Amado-Overburden Mon, 27 Apr 2020 09:48:31 +0000 www.fionakelly.co https://fionakelly.co/Miguel-Amado-Overburden <img width="2282" height="3185" width_o="2282" height_o="3185" data-src="https://freight.cargo.site/t/original/i/c4d87cbeef3e45a8a876d015e517ca692567f5ae55c50a8ebc9bc5a9c5218246/Miguel-Overburden--text.jpg" data-mid="68624862" border="0" src="https://freight.cargo.site/w/1000/i/c4d87cbeef3e45a8a876d015e517ca692567f5ae55c50a8ebc9bc5a9c5218246/Miguel-Overburden--text.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;︎ Miguel Amado