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CCUPY

ISSUE 1 GRADUATE SPECIAL

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CONTENTS

CCUPY
Occupy Paper is a new online publication for contemporary art, which will run alongside the visual art programme in place in Occupy Space.
Occupy Space is one of Limericks newest exhibition spaces, located on Thomas street. It has been set up to facilitate an ever expanding need for artistic exhibition spaces in Limerick. It is an artist led project, run by members of Wickham Street Studios on a voluntary basis. Occupy Space is committed to delivering a relentlessly energetic programme of exhibitions and events. Our intention is that this space will be a central axis for a huge variety of creative people to experiment and present their work. The organization encourages openness and accessibility to artists and the visiting public alike, and aims to provide an open solid platform for the visual arts. Our program involves hosting exhibitions of emerging and established artists, with a strong emphasis on exhibiting those based in Limerick. Occupy Space also hosts other artist led projects such as artists talks, seminars and collaborative events with other creative practitioners and organizations. This new visual art journal is intended to expand on the exhibitions and events happening in the gallery as well as provide a platform for critique and dialogue between emerging and established artists in Limerick and beyond. Artists, critical writers and other art practitioners are invited to submit to the journal and engage with it as a means of testing, experimenting, developing and expanding on new ideas and concepts.

In the Gallery ‘Symbiosis’ Group Show by Wickham Street Studio Members 04

Graduate Special Aoife Barrett Evelyn Broderick

Limerick School of Art and Design Limerick School of Art and Design

16 18 20 22 24 26 28 30 32 34 36 38 40 42 44

Marie-Louise Clogher Aoife Cox

Limerick School of Art and Design Limerick School of Art and Design

Sandra Hickey

Limerick School of Art and Design

Meagan Hyland Aidan Kelleher

Limerick School of Art and Design Limerick School of Art and Design

Suzanne van der Lingen

Submissions
Occupy paper is a free online journal published monthly or bi-monthly. We are actively looking for contributors to write articles, essays, and reviews. Occupy paper accepts all submissions related to contemporary art practice from painting and print to sculpture, video and beyond.If you would like to be included in the focus section please send a CV, 5-10 images and a short statement about your work. All submissions should be sent by email to : occupy.space@gmail.com

National College of Art and Design

Tadhg McCullagh Lisa O”Donnell

Limerick School of Art and Design Galway-Mayo Institute of Technology

Cian O’Donoghue
Limerick School of Art and Design

Molly O’Dwyer
National College of Art and Design MFA

Orlagh Spain Jane Sugrue Ian Walsh

Limerick School of Art and Design Limerick School of Art and Design Limerick School of Art and Design

Focus

Gerry Davis

Wickham Street Studios, Limerick

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In the Gallery

Symbiosis Wickham Street Studios Group Show

Wickham Street Studios was set up in May 2009 to provide affordable studio spaces for artists and an outlet for its members to be part of a wider artistic community. It currently has 12 artist members, Ramon Kassam, Kevin O Keeffe, Tom Prendergast, Aoife Flynn, Laura McMorrow, Aislinn O’Keeffe, Paraic Leahy, Gerry Davis, Paul Rathigan, Emmet Kierans, Noelle Collins and Sean Guinan. W.S.S has since become one of Limericks key arts organisations and are responsible for the establishment of Occupy Space. The shows title refers to the relationship between W.S.S and Occupy Space but also the relationship between studios and galleries in general. Symbiosis provided the public with the opportunity to engage with some of the processes and ideas being undertaken by current studio members.
The show previewed Thursday 10th of June 7-9pm and ran until 26th June

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Symbiosis
Tom Prendergast
Tom Prendergast’s work explores landscape through mediums such paint and collage.

Ramon Kassam
Ramon Kassam’s practice sites itself within the idea that any element that is part of the make up of a painting practice can call to mind certain degrees of suggestibilities. This in turn creates multiple mythological parallel universes for painting to situate itself within. By utilizing and exploiting these notions, Ramon’s objective is to establish a means of expression that is appropriate for grand themes, could express the experience of contemporary society and comprehend some of the different kinds of complex realities that exist within it, through something as absurd as a painting practice. In concept, the practice focuses on art history, painting critique, notions of the painter, but importantly it investigates how we make sense of paintings in relation to how we understand them to be categorized, in accordance to what we already know or take for granted about them or similar looking devices.He goes about this business by mostly making paintings much akin to answering a question with another question, further highlighting the absurdity of the practice and institute of painting and art making.

Laura McMorrow Aoife Flynn
My recent work has evolved from previous work, which sought memory, lost time, and hints of the absent-present in landscapes, people, and objects. Working from a base of imagery culled from memory, photographs, mass media and my surroundings, I am interested in creating multiple connections and relations rather than fixed and isolated pieces and which concern the perception of our reality.This project takes its inspiration and title from the Philip K Dick novel ‘Time Out of Joint’. In it the main character, an ordinary man leading an ordinary suburban life, begins to suspect that the world around him is an illusion, constructed for the express purpose of keeping him docile and happy. As the novel progresses the protagonist suffers from a breakdown of his ‘idios kosmos’ or personal reality and the objective, shared reality (koinos kosmos) emerges more clearly, exposing him to the reality he has created to shield himself from the brutal truth of a world out of control. It is this conflict of realities that interests me, trying to account for the diversity of worlds that people live in. The format of the book creates a one-dimensionality that the protagonist perceives in the world and asks us to look beyond this.

Gerry Davis

Gerry talks about his practice and recent exhibition in the Focus section on page 37.

Laura McMorrow’s work is inviting yet unpredictable. Her diverse combination of materials gently leads viewers to unexpected discoveries. These deceptively simple works present humorously profound situations her simplicity in reinventing found objects creates a complex pictorial space, and raises questions about subject-object hierarchy, and combinative logic.The scale of the work tends to be small and aims to provoke curiosity in the viewers, encouraging them to look closer and examine the pieces as if they are artefacts in a museum. The work is concerned with the processes of collecting, and appropriation in an attempt to understand such issues as orientation, perception, place and belonging.

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Sean Guinan
My practice is comfortable with the idea that painting is a matter of subjective aesthetics. The wrong can be right and the right can be wrong, as is the case in much of my work. I am interested in notions of ‘good’ painting and ‘bad painting’, and how these can be manipulated to form engaging peculiarities, including ambiguous stylistic variations and allusive conveyance. My work isn’t quite sure what it is or what it wants to be. It is almost searching for a way out of perplexion, ambivalence, inconsistency and contradiction.

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Paraic Leahy
Relying on childlike or adolescent content, my work aims to create absurd otherworldly scenes. By juxtaposing images together from a variety of sources, I aim to create curiosity in the viewer through a series of imaginative compositions questioning the notion of the real. Dealing with space within the work is important. Leaving areas of the work untouched heightens that the artwork is not about mastering the form of the surrounding non-forms but more areas of small details and the artist’s judgment Attempting to reconcile ideas of dichotomy – a division between two things - The real and unreal, the tenable and untenable - trying to create a conflict within the work

Kevin O’Keeffe
When I was working in the National Galleries of Scotland I watched a woman who was standing before a self portrait by Rembrandt. Though the glass was supposed to be nonreflective, she begin to fix her hair and even try to check her teeth in the glass.I am interested the archetypes and memes of traditional art practices, where motifs have become dominant truisms, and I attempt to revaluate their situation in contemporary painting practice. I am currently painting about the landscape. I use generic horizontal line 1/3 up from the bottom of the picture plane which is ratio 2:1 (sometimes 16:9). An awkward feature is then placed within that landscape to offset the literal, traditional reading. Varnish is poured for a reflective gloss. Landscape is a subject so pregnant with meaning and relevance, more topical with each passing year yet redundant on the picture plane. I am interested in an exhausted depiction of a constantly reinvigorated subject and the consequences in that argument.

Paul Rathigan
Paul Rathigan’s paintings explore the idea of landscape using glass and enamel paints that give a lustrous mirrorlike finish.

Emmet Kierans
Emmet Kierans appropriate to the paintings revolve content. around a cast of characters, their environment and the factors influencing their lives. These fictional characters are used to explore current ideological theories through metaphor and allegory. Middle class housing estates, parasitic worms, pharmaceuticals and characters in a state of metamorphosis are the subject matter of the current work. A range of styles and techniques are utilized so that each painting is carried out in a manner

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‘Material and colour are used to convey memory and emotion.’
Aislinn O’Keeffe
My current work is concerned with exploring the loss of childhood innocence, and at the events, people and societal conditioning which shapes the individual from childhood. I am exploring these themes through some of the themes in Lewis Carroll’s ‘Alice in Wonderland’ books, while using images of myself taken from family photographs as the ‘Alice’ figure in the paintings. Material and colour are used to convey memory and emotion. The images are often layered and ambiguous reflecting the uncanny nature of memory and the way in which the mind attempts to organise information and events and make sense of them. The mixed media used in the pieces are domestic, everyday materials much of which are objects and materials I have used in my own life at one time or other. These are used to bring a personal and relatable element to the work, while simultaneously fusing parts of the ‘real‘, ’outer, physical world with the ‘imaginary‘, inner world of the mind

‘Conformity, identity, the domestic and absence are some subjects present in my work.’

Noelle Collins
The pieces I’m currently working on address the ideals and expectations that influence our lifestyle decisions. Conformity, identity, the domestic and absence are some subjects present in my work. A curiosity about the previous tenants in both my apartment and studio sparked an interest in the achievements accomplished by many in life and the habits we develop as individuals that are also common throughout society. These topics inform the selection of images and their treatment through collage, painting and illustration.

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A selection of 2010 student shows

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Everyone has a public world, a private world and a secret world. Paula Rego
Favela, Wooden Houses, Various Dimensions

City of Prints, Mixed Media, Various Dimensions

Aoife Barrett

Limerick School of Art and Design My studio practice has involved researching different dwellings and architectural domestic spaces as well as concepts of public and private boundaries. My work combines and layers 3-D architectural installations, photography and prints, exploring, reflecting the home as container and symbol for our actions, experience and memories. The various forms of architectural representation shown in my work reflect concepts of oppositions such as containment and openness, interiority and exteriority, transparency and opacity, order and disorder. Images of houses that cannot be reached or got into, stairs that go to nowhere, houses with no doors, houses piled on top of each other; all these things reflect the constraints and conventions of society as well as representing the obstacles one meets in life. The main focus of my work is the marginal society: the shantytowns, favelas or townships. All materials worked by human hands recount something about themselves and about us, to where connected ideas emerge. My work uses the cast-offs of society to construct the unregulated yet vibrant expressiveness of the human being to personalise space.

Favela, Wooden Houses, Various Dimensions

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Evelyn Broderick
Limerick School of Art and Design

Everything in the world exists in order to end in a book. Today everything exists to end in a photograph. Mallarmè- Susan Sontag ‘On Photography’.

My work stems from a fundamental interest in observing banal objects.Sitting on a mantel piece or hanging on a wall, the frame holds a reminder to the past. I was thinking of captured moments confined in a space, contained neat and tidy within a frame. I read that ‘Everything in the world exists in order to end in a book Today everything exists to end in a photographMallarmè’ Susan Sontag ‘On Photography’. I was intrigued by this idea and feel that in today’s society our lives are documented visually, selected few important memorable

‘239’ Wax, Resin, and Pigment.

images are then placed in frames. I wanted to distort this traditional function of the frame, and then the idea of framing an empty space came to me. Image is unnecessary, as it is the boundary which encloses the image that interests me.‘The edges of the rectangle are a boundary, the end of the picture. The composition must react to the edges and the rectangle must be unified, but the shape of the rectangle is not stressed the parts are more important, and the relationships of colour and form occur among them’ Donald Judd ‘Specific Objects’ Intrigued by this statement, I began to look at the frame as a unified form, I wanted to stress

the importance of colour and form and by making multiples I felt that I could achieve this. I made two silicone moulds from which I was able to reproduce over 200 frames. I used a range of materials-plaster, jesmonite, resin and wax. The wax enabled me to add wax pigment and painting pigment,which allowed me to focus on colour. No two are the same as I did not use equal quantities of pigment. I arranged a floor installation of over 200 wax and resin frames which creates a delicate tension in the space. An aura of presence and absence is evident as the empty space is framed.

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The City on Film

The City on Film

Marie-Louise Clogher
Limerick School of Art and Design The basis of this project was the subject of the city and our interpretation of it. I drew upon my ever-expanding interest in film and took three of my favourites that used a city as a character and also as a storytelling tool. I then documented the city of Limerick photographically and compared and contrasted my experiences there with those in three particular scenes from the films chosen through photography and typography. I wanted to show that you can feel the same way about these romanticised and idealised cinematic scenes as you do about the place you actually live in, no matter how small, insignificant or remote it may be, it’s still yours.

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‘to challenge the way we perceive and contemplate time, movement and space.’

Limerick School of Art and Design

Aoife Cox

Reflecting the process the human body undertakes to attain proficiency of physical abilities and techniques; my practice involves creating a process which is both physically and mentally repetitive throughout its progression. By utilizing the forms created by dynamic body movements, I seek to created objects which portray

the rhythm and flow of energy and movement in the body, while emphasizing the way a body utilizes the space which it inhabits, to challenge the way we perceive and contemplate time, movement and space.

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the mouth is the main focus, it becomes just an object

Sandra Hickey
Limerick School of Art and Design In these works I’m portraying colour in a similar way as is used in advertising, rich reds, purples and warm oranges are used to promote the ‘sex sells’ momentum. I have chosen to focus on the mouth as a subtle sexual orifice because it is the part of the body that is continually used in adverts using the sex sells motive. These colours are used to illustrate the peak of desire, the moment of stimulation and lust when used in a dramatic way. These colours are also linked to that of health, a healthy body, youth, when applied in a subtle way but what I’m trying to do in my paintings is to use these colours and apply them in such a way that it cancels that out, I wish to make the viewer think of rot, disease, infection, decay, unease when presented with these colours, and change the viewers association with these colours or at
Ravenous, Oil on Canvas, 2” x3”

They come in different shapes and sizes, Oil on black sheet plastic, 25cm x30cm

‘make the viewer think of rot, disease, infection, decay, unease when presented with these colours’,
least question why those colours are so often linked to these qualities. I’ve been concentrating on the mouth/ chin area of the face and I’ve tried to link it to thoughts of sexuality, sensuality,a subtle symbol of seduction. I’ve focused on the mouth as a sexual orifice and nothing more, an object that’s sole purpose is for pleasure, by removing the eyes from these portraits, and cropping the image so the mouth is the main focus, it becomes just an object. The colouring is very important in the work, the use of luscious reds, warm oranges, rich purples are to symbolise the peak of desire, to symbolise the stimulation of genital. Many of my portraits are cropped, and falling off the canvas. By accompanying the imagery with large open voids of empty space, I’m trying to draw focus to the tension between the image, falling from its setting and the open space it leaves behind. I wish to draw attention to the beauty of the raw canvas, and show the workings of the drawing that lies beneath.

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Meagan Hyland
Limerick School of Art and Design

My work is broken down to a cycle of knowing what I want straight away,researching the idea, loving the idea, and then slating it, starting over, trying every other idea under the sun before coming back to the original idea. Usually this takes anywhere between a day to four weeks but for the most part this method has worked for me. This particular piece was from a brief called ‘The City’ where I was asked to interpret the city in my own way. I chose to look at the idea of how someone can be in love with a city they have never been to, in my case I chose New York and decided to portray the others ways you can visit the city through other medias like music, books, and films.

www.meaganhyland.com

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‘the user would need to feel threatened by the possibility of something ‘bad’ happening to them’

this particular emotion,the user would need to feel threatened by the possibility of something ‘bad’ happening to them and this would have to be embodied physically in the device. In this case, the interface was designed as motor controlled pulley system that would move a stylus over a page creating an image. To create the feeling of and the image of this fear, two electrodes were attached to the controllers which are set to randomly administer an electric shock. As the electric shock is random, and the user remains aware of this, a sense of danger and tension is generated.

Aidan Kelleher
Limerick School of Art and Design The devices created through my work are based around the production of an image and the users of the machines receive something as a result of their interaction, specifically a physical piece of art produced from a particular machine. The work produced is a combination of electronics and engineering, and the materials used are often found disregarded mechanical components or purpose built pieces. This work is my interpretation of Experimental printmaking. I began studying interaction design, which is the study of devices with which a user can interact. The idea behind it is that designers/artists, create interfaces with devices that make them eaiser and more enjoyable to use. However through my practice I decidedthat if I were to create interactive devices that I didnt have to make them either enjoyable or easy to use. Resulting from this I began studying different states of emotion and ways of evoking them, this led me to Robert Plutchik, who during the 80’s created a list of the basic emotions, Joy, Trust, Fear, Anger, Disgust, Anticipation, Suprise and Sadness. I am using this list as a basic guidlines for the production of my machines. This research has been the main driving force behind this project. For example, a machine created as part of this work, designed to evoke fear was conceived by first researching an accurate definition of what fear meant and researching different ways that people could be agitated by the presence of danger. Through the research it came to my attention that to stimulate

aidankelleher.weebly.com

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‘the notion of the other in photographic and time-based media.’

Suzanne van der Lingen
National College of Art and Design A historical materialist cannot do without the notion of a present which is not a transition, but in which time stands still and has come to a stop. For this notion defines the present in which he himself is writing history. Historicism gives the “eternal” image of the past; historical materialism supplies a unique experience with the past. The historical materialist leaves it to others to be drained by the whore called “Once upon a time” in historicism’s bordello. He remains in control of his powers, man enough to blast open the continuum of history. (Walter Benjamin, Theses on the Philosophy of History) My interests lie in the coincidences between (cultural/historical) signification and the perceptual experience. Taking inspiration from Walter Benjamin’s notion of historical materialism, my work proposes and facilitates individual experiences of objects rather than advocating defined historical narratives. In this specific body of work, I use my own maternal relationships to explore the notion of the other in photographic and time-based media. Basing my work on archival footage of my grandmother, I play with our relationship to spark a dialectic between tenses and physical identity.

www.suzannevanderlingen.com

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Tadhg McCullagh
Limerick School of Art and Design My evolving practice is informed by research into the dominant ideologies which dictate our societies. These ideologies appear as inevitable, but are insidiously bolstered by those who benefit from them the most. This exhibitions focus is a meditation (space) on the relationship between the individual constituents of society, i.e. the citizens and society as a whole. Accessibility is an important issue in my practice.

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Lisa O’Donnell

Galway-Mayo Institute of Technology My work references the issues of juxtaposition and balance in regards to the physical make up of each work in terms of the composition, color, medium and also the abstract and figurative elements used. The process of using often random imagery is a way of working that represents searching for a balance and is influenced by everyday life where we are constantly bombarded by imagery and it is difficult to find a particular balance in life and figure out exactly what you want and are interested in. I work predominately with painting as well as video and the combination of different media is an important element of this work. This body of work depicts a number of different elements such as dazed figures plucked from mass media and random clips from newspapers, as well as other random imagery of recognizable elements such as rooms and dwellings. The figure/ground relationship is important as the scenes which emerge have recognizable elements from everyday life somewhat abstracted into a strange and unreal space, reflecting a certain space hovering between some form of reality and a fantasy land. There is a kind of retro style that often appears in the work which relates to how we always look to the past for our influences and for ways of tackling the future.

‘a certain space hovering between some form of reality and a fantasy land.’
www.Lisaodonnell.blogspot.com

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Cian O’Donoghue
Limerick School of Art and Design I have been experimenting with the capacity of photography printing mechanisms, animation and lighting to allude to the ambiguity of ephemerality within the intrinsic symbolism of the moth and metaphysical phenomenon of death

He who fights with monsters might take care least he thereby become a monster (part 2), 1189mmx841mm, Lambda Print, Silicone Diamond Mount

‘No one believes in his own death. Or, to put the same thing in another way, in the unconscious every one of us is convinced of his own immortality’ Sigmund Freud, ‘Interpretation of Dreams’

He who fights with monsters might take care least he thereby become a monster (part 1), 1189mm x 841mm, Lambda Print, Silicone Diamond Mount

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Molly O’Dwyer

National College of Art and Design MFA

Interdisciplinary in nature, my practice employs the use of mediums such as video, sculpture and installation. My research revolves around an interest in the human condition and its interaction with living space and everyday life, challenging the behavioural codes by which we live. The boundary between public and private is examined through exploring these concerns as an analogous parallel to the physical and the psychological, the body being our primary experience of the world from the corporeal to the mental. In performing for the camera, everyday objects and familiar landscapes act as both material and prop for the exploration of this terrain that exists between these two inseparable forms of reality, as central to our perception of the world both internally and externally. Pathos and the tragicomic implicate the viewer on a psychological and emotional level through the use of simple bodily gestures with elements of order and chaos through absurd actions performed for the camera. Aspects of popular culture and the cinematic are referenced in the work through a merging and co-existence of fiction and reality. My practice draws interests from film theory and the role of media in society asserting the use of the video camera as core medium for the exploration of the issues in the work.

Vantage Point

www.mollyodwyer.com

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Limerick School of Art of Design

Orlagh Spain
Our society generates enormous quantities of waste; wood, metal, information and symbols. This waste in turn creates a kind of sensory pollution, resulting in the important and significant becoming lost in a sea of irrelevance. For me the process, materials and physicality of a work are as of much importance as the concept. I choose to work with scrap wood and metal because they are in essence the waste of society. They stand as an antithesis to a world that places value in the pure, new, and sleek. In the modern mind such materials evoke a fear of disuse, entropy and ruin.

‘the waste of society’

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Jane Sugrue

Limerick School of Art of Design

The peculiar estrangement that often occurs after sex between men and women is a paradox that interests me. Intimacy and alienation.

The complex relationship of the pains and joys of love and friendship. I need my memories. As to be expected, with time they sweeten, become more full by my remembering. They lose their grain of truth, and warm me with nostalgia. My work grows from the duel between the comforting lie of memory and the harsh truth. In drawing, whilst my hand touches the sheet, the touch does not know the difference between a drawn line and the blank paper. It matters little what it touches, my finger is unable to tell the difference. That is the crucial essence of drawing; it is always so close to the object but always separated from it. The lie and the truth. Close but always comfortingly separate. My drawings allow me to re-experience past relationships without the trauma of fresh truth. They allow me to journey through the past unafraid of what hurts, joys and pains I might find again, and become a kind of visual catharsis. Each is a means of expelling, of getting out of me, past emotions and states of awareness.

The Beatific Dream and Joke’s become Real

Attracted to each other, a man and a woman connect through lust. The communication joining them depends on the nakedness of their laceration. Their love signifies that neither can see the being of the other but only a wound and a need to be ruined. No greater desire exists than a wounded person’s need for another wound. Georges BataIlle

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Ian Walsh

Limerick School of Art of Design

‘I don’t know just when we lost our sense of reality or our interest in it, but at some point it was decided that reality was not the only option, that it was possible, permissible and even desirable to improve upon it.’

Seventy-Nine Short Essays collects an assortment of rants and thoughts on the culture of graphic design through the eyes of the well respected designer and design critic Michael Bierut. One essay ,The Real and the Fake, examines how the city has lost it’s sense of reality and is being built around the expectations of others rather than for functionality. Bierut uses the example of New York but this theory is applicable to any city, from Paris to Dublin. The series of posters use a collage of well known buildings from Limerick City to in body the hyper-reality discussed in the essay. The six pieces are designed around my own expectations of what I believe the city to be or imagined it to be, drawing inspiration from the fictional Gotham City to the “non-fictional” New York city.

The Real and the Fake

The Real and the Fake

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Focus
Gerry Davis is a graduate of Limerick School of Art and Design and is currently a member of Wickham Street Studios. Here he talks to Occupy Paper about his practice and recent exhibitions.
OP:So Gerry tell us a bit about your academic background, did you have any influential tutors or peers? GD:Well I started out in Limerick Senior College and then moved on to LSAD to study painting for four years. I definitely learnt a lot over that time and would say that all my tutors and peers were influential in one way or another. Although I was taught alot about the technical aspects of painting, it was really the energy and conviction of certain teachers that helped me build my own confidence to keep working at art. At first it was kind of a surprise for me to see this whole world that focused on nothing other than artmaking, but as the years went by it became more and more habitual and by the end, I was well accustomed to the idea of working as an artist. OP:What kind of themes and concerns are explored in your practice? The title of your new solo exhibition suggests theres a ‘duality’ in your work, what is the reason for this and how does it present itself? GD:The title came from the idea that because I work in both digital and traditional mediums, and both have progressed quite differently over the years, that the differences should be acknowledged rather then trying to assimilate one practice into the other. Before I went to study painting I had an interest in digital imagery and was largely self taught in the different software used. By the time I came along it was in fact more natural to learn how to use photoshop as a kid then it was to learn traditional oil painting, as every home had a computer and it was much easier to get into and much quicker to get results out of.
‘Duality’, Gerry’s solo exhibition at Normoyle Frawley Gallery

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OP:You use a lot of close friends and relations in your portraits, is the sense of intimacy that this creates important to the work? GD:I think it might come from growing up being very distant from anything related to art. It was in lots of books etc but no one I knew as a kid had any interest in art, it wasnt in my family at all and it was a very alien thing in my life until I was older. So in some ways painting portraits of friends and relations now is a way to put my own stamp on it, or trying to rectify that circumstance.

OP:Did you strive to capture a kind of disconnection that comes through with the digital work, in that its not such a physical process as painting and, I imagine, far less time consuming.What do you think about this contradiction? GD:I think the sense of disconnection is definitely there, and maybe thats why the digital work has such different imagery to the paintings, because I don’t consider it as much of a personal investment. That can be very liberating as well though, and Ive been able to come up with surreal pictures I never would have been able to do with paint. It continues to surprise me how the pros and cons of both ways of working balance each other out, and Ive never been able to abandon one for the other. OP:What can you tell us about your process in general? Give us some insight into how you work. GD:Well the starting point is generally a photograph. I have a large collection of photos on my computer stretching back a few years. I look through it for a while and I might focus on one aspect of a photo or the photo as a whole if its interesting. Recently I’ve been trying to challenge myself and have been using elaborate photographs as references for some of the oil paintings in the Duality show. If I’m working digitally then I would often throw a few different elements from different photos together until an image eventually starts to emerge and then I work on bringing that out and making it into its own believeable scene.

‘I’ve been able to come up with surreal pictures I never would have been able to do with paint’

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‘there are pros and cons to both digital work and painting, I dont think I could choose one over the other at the moment.’

OP:You had a few important exhibitions recently, one that focused on your digital work and your first solo exhibition, which one did you enjoy more, as a matter of fact, which aspect do you enjoy more, the digital work or the detailed painted works? GD:Yeah Hi-Res (the digital show) was a great opportunity, I had known Ken Coleman almost since the time I moved the Limerick 5 or 6 years ago and as far as we knew we were the only artists in Limerick who made digital art in a purely fine-art context, as opposed to using it for design etc. Then we met Billy Hayes and Johnnie Wong who had also been working digitally and having a group show after that was the logical progression. It was an enjoyable show to work on and getting to see my digital pictures printed on a large scale for the first time was great. Duality (the solo show) was a little more strenuous to get ready, but was equally enjoyable

and it was an excellent opportunity to see the work of the last year hung together in one place and I was able to look at it more objectively then I could in the studio. As I say, there are pros and cons to both digital work and painting, and I dont think I could choose one over the other at the moment. OP:You’re a pretty accomplished photographer too, do you see that as an integral part of your work? GD:Photography is kind of a common denominator between all my work, its the starting point for both the paintings and the photo manipulations and sometimes I use them as standalone photos as well. I hardly ever leave a photo without some level of editing done to it though and I think that digital post production is something that ought to be embraced by all photographers.

OP: Are there any artists out there that you really admire and maybe influence you? GD:There are a couple of realist painters working today that I really admire, Sean Cheetham and Kent Williams are two great american painters and Phil Hale is one in england. Then theres also some great digital artists I’ve followed over the years, Dennis Sibeijn, Dave Mckean etc. One great thing about Limerick is the whole spectrum of artists that work there, an amazing amount for a small city, and since I’ve lived there I’ve met some incredible artists too. OP: You won the Normoyle Award at your degree show for a solo exhibition, did you find this beneficial?You’ve also been working in Wickham Street Studios since graduating, was it important for you to keep working after college, to keep the momentum going?Is being

Scientia

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‘I was in college during the good years so I dont know any better’

Marisha, 2.5x 3ft

OP: You won the Normoyle Award at your degree show for a solo exhibition, did you find this beneficial?You’ve also been working in Wickham Street Studios since graduating, was it important for you to keep working after college, to keep the momentum going?Is being able to work alongside other artists important to developing your practice after college? Has the recession affected your practice at all? GD: Winning that award was very helpful, as it gave me something to work towards for the year and helped me to keep the ball rolling straight out of college. Being in Wickham St was the biggest help, I cant imagine I would have kept going if I hadnt stayed around other artists, who I’ve also found to be the soundest, nicest people too :D The recession hasnt really affected my practice too much as I was in college during the good years so I dont know any better :) I find that there are still some buyers for the work but I haven’t got as many commisioned jobs as I used to. OP: Any upcoming exhibitions?What are your plans for the future? GD: No immediate plans yet, that last two shows came in quick succesion, so I’m happy to spend some time figuring out what the next body of work will be like and making a start on it. :)

Dinner, 6x 4.5ft

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CCUPY
occupy.space@gmail.com
Disclaimer: Occupy Paper is free and makes no profit from the publication of any materials found therein. Occupy Paper is a publication for the dissemination of artistic ideas and will not be liable for any offense taken by any individual(s) resulting from any material contained therein.All images in Occupy Paper are the sole property of their creators unless otherwise stated. No image in the magazine or the magazine logo may be used in any way without permission of the copyright holder. Submissions: All works submitted to Occupy Paper must be the sole, original property of the contributor(s), have the appropriate model releases, and cannot interfere with any other publication or company’s publishing rights. Occupy Paper is edited by Aoife Flynn, Occupy Space/Wickham Street Studios, Limerick, Ireland.