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CCUPY

ISSUE 2
2 Occupy Paper Issue Two 3

CCUPY CONTENTS
In the Gallery
‘Island’
Mary Noonan and Damien O‘Connell 04

Talk about their new joint exhibtion in Occupy Space

Occupy Paper is a new online


publication for contemporary art,
which will run alongside the visual art
programme in place in Occupy Space.
Interview
Gareth Jenkins 16
Occupy Space is one of Limericks newest exhibition
T alks about his practice and recent MA in the National College of Art
spaces, located on Thomas street. It has been set up to and Design
facilitate an ever expanding need for artistic exhibition
spaces in Limerick. It is an artist led project, run by members Beth Fox 24
of Wickham Street Studios on a voluntary basis. Occupy
Space is committed to delivering a relentlessly energetic Talks about her practice and new exhibtion
programme of exhibitions and events. Submissions

Our intention is that this space will be a central axis for a


huge variety of creative people to experiment and present Occupy paper is a free
their work. The organization encourages openness and online journal published Review
accessibility to artists and the visiting public alike, and monthly or bi-monthly. Dana Schutz 28
aims to provide an open solid platform for the visual arts. We are actively looking
Our program involves hosting exhibitions of emerging and for contributors to write Deirdre Kelly reviews Schutz’s new show at The Douglas Hyde Gallery
established artists, with a strong emphasis on exhibiting articles, essays, and reviews.
those based in Limerick. Occupy Space also hosts other Occupy paper accepts
artist led projects such as artists talks, seminars and all submissions related to
collaborative events with other creative practitioners and contemporary art practice
organizations. from painting and print
to sculpture, video and
This new visual art journal is intended to expand on the beyond.If you would like
exhibitions and events happening in the gallery as well to be included in the focus
as provide a platform for critique and dialogue between section please send a CV, Focus
5-10 images and a short Laura McMorrow 32
emerging and established artists in Limerick and beyond.
Artists, critical writers and other art practitioners are invited statement about your work. Member of Wickham Street Studios, Limerick
to submit to the journal and engage with it as a means of All submissions should be
testing, experimenting, developing and expanding on new sent by email to :
ideas and concepts.
occupy.space@gmail.com
4 Occupy Paper Issue Two 5

In the Gallery
Occupy Space presents Island, an exhibtion of work by
Mary Noonan and Damien O’Connell. Both artists explore
the concept of the island as a closed space. Much like a
waiting room or prison cell, the island is conceived as a

Island
dual space of infinite limitation and potential. The island is
a place we long to escape or seek refuge.

Mary Noonan and Damien O’Connell The show previewed Thursday 1st of July 7-9pm and ran until 17th July
6 Occupy Paper Issue Two 7

Island Mary Noonan and


Damien O’Connell tell
Occupy Paper about their
respective practices and
their new joint exhibtion
in Occupy Space

OP Tell us a bit about your


academic background,
did you have any
influential tutors or peers?

DOC I did my BA in
Limerick School of Art
and Design and my MA
in Central St Martins in
London.

MN I did a diploma in
Fine Art in DLIADT in
2000; in 2001 I returned
to college and spent
two years in the NCAD
painting department
graduating with a BA in
2003. I recently finished
a two-year Master in
Fine Art (MFA) in NCAD
through the painting
department again, that
was in 2009. The most Both were great tutors with was the best thing I could
influential tutors I had very different approaches, have done for my work. I
were Robert Armstrong, which I think brought out the found it very challenging and
Susan Mac William and best in me. Susan was very extremely worthwhile. I spent
Sarah Durcan. During encouraging and always the two years focusing solely
my masters I was lucky helping me to push the on the development of my
enough to have Susan work further. Sarah asked work, trying to find my own
as my personal tutor the tough questions and personal standpoint as an
in the first year and Farmer’s Daughter, really helped me to focus artist.
Sarah in the second. mixed media,
Mary Noonan 2010
my practise. The Masters
8 Occupy Paper Issue Two 9

OP What kind of themes and creating my own ‘world’ of the changeling was how So filthy spuds
concerns are explored in your in my work, using research multi-layered and imaginative could grow in his
practice? and personal memory and it was, but also how it was a ears..., watercolour,
experience. My upbringing on way for people to explain and watercolour
MN I use my research into a farm in county Mayo informs understand things like disease pencil, pencil and
gold marker on
folklore and superstition to form the work a lot. There is a strong and mental illness at a time torn paper, Mary
the basis/foundation for my element of the surreal and often when professional medical Noonan 2010
work. There is a strong sense of the pieces are quite sinister. advice was unavailable to the
narrative to most of the work I’d like to think that the work is majority. These stories for me
and these narratives are often a sort of an amalgam of the are a very imaginative way of
left open and are not clearly ‘real’ world along with another explaining the unexplainable. A
defined in the finished piece. imaginary parallel world. Much lot of the sources I look at were
I interpret stories I research of my research relates to ‘fairy- written in the late nineteenth
embellish and change them faith’ and stories about the and early twentieth century
through the process of making fairies. For example what drew from the perspective of the
the artwork. In a sense I am me to the fairly common story Anglo-Irish, with people like

Douglas Hyde and Lady indescribable universe in MN I love both. I treat the
Sperenza Wilde giving great which man allows himself sculptures almost as if they
accounts of folklore. I am the tormenting luxury of are 3D paintings, and have
interested in how myth and fishing in a bathtub, knowing a very tactile approach to
superstition have informed nothing will come of it.” the 2D work. I often cut and
how ‘Irishness’ is viewed I think that could sum up tear the paper, with this I
and interpreted and how the broad scope of my am trying to give a sense of
it has added to what is an practice, intertextuality, the psychological aspects
element of our national incongruity, failure and of what is going on in the
stereotype. laughter. work. By ‘doing a violence’
to the paper I am in effect
DOC One thread that OP Your work seems to leaving a physical residue
runs throughout my work be divided into drawing/ and visual evidence of that
is absurdity. What Camus painting and sculpture, trauma. I don’t think that
Farmer’s Daughter(close-up), (when discussing the work which part is more important one element of my practice
mixed media, Mary Noonan of Kafka) describes as “an or stronger in your practice? is more important or stronger
2010
10 Occupy Paper Issue Two 11

Breugal and Hieronymus various sources and to it at a later stage. I


Bosch to contemporary attempt to construct a find I need to have a few
artists Verne Dawson, Dana vocabulary/narrative by things ‘on the go’ at the
Schutz and Ellen Gallagher. looking for connections or same time. The sculpture/
I am also very interested combinations that might installation Farmer’s
in illuminated manuscripts. lead towards a divergent Daughter that I showed at
I am happy to take or an incongruous situation. Occupy Space took a long
inspiration from wherever I In a practical sense this time to evolve. I had the
can and often the literary amounts to an ongoing cot in my studio for about
sources I look at suggest process of reading, two years. I tried several
imagery or trigger memories. underlining, looking, writing, things with it that just didn’t
I keep a notebook with me drawing and making. These work, eventually the idea of
at all times and jot down elements then collide in a having a landscape almost
ideas when I have them. I constructed mise-en-scene. spewing itself out of the
visit galleries a lot and am cot emerged. I was hoping
quite nerdy taking notes as I MN I have already to give a sense of having
go along. mentioned tearing and been born into something
cutting the paper. I work ‘the land’ in my case, and
OP How do you tend to on a number of pieces at how ones environment and
work, what can you tell the same time, sometimes ancestry or sense of place
us about your process in finishing a piece fairly influences someone from
Scotoma 1, watercolour & general? quickly but more often than an early age. The fact that
pencil on paper, Damien DOC I collect fragments not working on something, the land is made from very
O’Connell 2010 of image/text from leaving it and then returning ‘unreal’ materials such as

than the other I like being OP Where does your (historical & contemporary),
diverse and working in a imagery originate? film, newspapers, ‘the sculptures
number of different ways. and so on. Through recurring
DOC On a superficial level, elements, such as the are curious,
DOC For me, there is no the imagery I use could be chair, I intend to exploit the liminal objects
such hierarchy. I will use perceived as solipsistic or burdensome symbolism
whatever method or means hermetic and perhaps on of the object. Through its while the
likely to accomplish my ends some level these images omnipresence in my work, drawings serve
and this will often expand are a reflection of an inner the chair becomes an
beyond drawing/painting world. However, it is not unwitting provocateur: it is to fold and
and sculpture. With much my intention to create an accepted totality within unfold the elusive
of my work, including Island, something overtly esoteric the miniature tableau but a
the sculptures are curious, or private. Instead, I want bewildering conundrum for narrative’
liminal objects while the to recover some kind of the viewer. This is the tension
drawings serve to fold and critical vitality by arousing I am interested in, between
unfold the elusive narrative. wonder and curiosity, or, like wonder, confusion and
Both elements perform Gide, I want to know ‘who failure.
separate but related will deliver our minds from
functions, so the work might the heavy chains of logic.’ MN My visual research is
be encountered as a series So, to answer the question, broad and includes sources Sucking on a lemon,
of fractured connections, the images emerge from such as painters from the watercolour, watercolour
pencil, pencil& pencil on
which amount to an open- tangible but disparate Northern Renaissance, Lucas cut and torn paper
ended model of thought. sources, such as, books, art Cranach the Elder, Pieter
12 Occupy Paper Issue Two 13

Insula, sculpture,
Damien O’Connell 2010

the scenics used for model allow for them to somewhat DOC There are many
railways was important suggest the eventual artists whose work I am
to me also, I felt that the outcome of the work. I try as continually drawn to, Mark
‘fakeness’ of the materials much as I can to push the Manders, Fischli & Weiss,
might suggest to the viewer materials as far as I can. As I Julian Rosefeldt, Paul Thek
a detached or removed mentioned already my little and Bas Jan Ader, to name
view of the land and lean notebook is very important a few. Samuel Beckett and
towards issues surrounding to me. I jot down notes Flann O’Brien have had at
stereotype and identity. I on artworks and ideas for least an equal impact, for
wanted there to be a strong artworks. Generally these the transgressive laughter
sense of narrative as the notes could be expressions that resonates through their
viewer worked their way that I heard growing up, work.
around the piece. I wanted quotes from books or visual
there to be that same sense ‘diagrams’ of ideas for MN Yes of course, the ones I
of navigation in the large future work. have mentioned already as
watercolours. I often don’t well as many others. I try to
have a very set plan for my OP Are there any artists out expose myself to as much
work but rather start with a there that you really admire art as I can without getting
general idea and through and maybe overwhelmed! Ideas can
working with the materials influence you? come from the unlikeliest
Monument to Lent after Breugel, sculpture, Damien O’Connell 2010
14 Occupy Paper Issue Two 15

e-mail, so I felt we had been initiated summer program. Murphy at the Roscommon
places sometimes, so I try to acquainted already. The I have also been working Arts Centre in late 2011. I
be open. whole process was very closely with the curatorial am working toward a solo
democratic between us, the group Tall Tales in London, exhibition in the Linenhall Art
OP How did you find installation was discussed and have upcoming group Centre, which is in 2011 as
exhibiting in Occupy Space? and mulled over and we exhibitions in Bearspace well, so I’ll be busy working
What did you think of the got on very well. It was a and The Elevator Gallery, away in my studio at the
similarities between your very pleasant experience London. Red Stables.
work? working with Damien.
MN Yeah, I’m showing
DOC It was an interesting OP What are your plans for five watercolours in COE
space to negotiate and the future?Any upcoming 2010 in my hometown of
sometimes had quite a exhibitions? Claremorris in September,
transformative effect on the so looking forward to that.
installation. The dark room felt DOC My next solo show will Also I was selected to
especially cavernous, given be Monument with Pallas exhibit in a three-person
the miniature nature of my Contemporary Projects in show with Peter Burns and
work, placing the small Dublin as part of their artist Anne Hendrick by Patrick
Monument to Frugality piece
in this solemn concrete
mausoleum created a further ‘one way of
disruption of scale and
expectation. Beyond the
describing the
surface similarities in our work, exhibition is that I
it was interesting to uncover
the more subtle thematic observe the island
connections, such as our
separate approaches to
from a detached
belief systems. I think one way distance whereas
of describing the exhibition
is that I observe the island Mary has a
And a great tumult came from the from a detached distance
ground..., mixed media,
whereas Mary has a more
more immediate
Mary Noonan 2010
immediate presence, in other presence, in other
words, she is onshore while I
am adrift! words, she is
MN I was really happy to
onshore while I am
exhibit in Occupy Space, I adrift!’
think the space itself is great
with a lot of scope to work
with. Personally it was a great
chance for me to show some
of my bigger pieces. Working
with Damien was very
enjoyable, although we had
never actually met before,
running up to the show we
New Wonder Cure, kept in good contact via
mixed media, Deus Ex Cathadra and Precipice,
Mary Noonan 2010 sculpture, Damien O’Connell 2010
16 Occupy Paper Issue Two 17

Interview
Gareth Jenkins
Gareth talks to Aoife Flynn
about his practice and
upcoming exhibtions

AF Hi Gareth, so tell us a
bit about your academic
background, where you
did your degree and your
Master’s, did you have any
influential tutors or peers?

GJ My interest in a career
as an artist began later
than most, in fact it came
at a time when I was a full
Installation View 2010.
time chef working abroad
in New Zealand. Being in
a new environment and
different culture gave
‘My interest in a career as an artist began later
me the opportunity to
diversify my creative skills
than most’
from cooking to painting
and sculpture. In 1998
I enrolled on a full time
on pursuing my interest in institutions around Ireland The courses themselves
one year diploma course
art (especially painting) and was lucky enough to be although very insightful and
at a local art college
further. With no portfolio or accepted at the Limerick useful on so many different
called ‘The Learning
any secondary education to School of Art and Design. levels were only as good as
Connexion’ in Wellington,
speak of my only option was After completing my four the students and staff that
New Zealand. The
to return to education as a year ‘BA Honours in Fine Art breathed life into them.
course gave me a basic
mature student at the local Painting’ in 2008, I moved I met many tutors and
practical understanding
Further Education Centre to The National College of peers whose advice and
of artistic techniques and
in Abbeyleix, Co. Laois in Art and Design in Dublin encouragement helped
methodologies. After a
2003. After successfully where I recently finished shape my current practice
year my visa ran out and I
completing the ‘Fetac level a two year Master of Fine and whom I shall always
returned to Ireland where
5 Arts, Craft and Design’ Art post-graduate degree hold in high regard and to
I continued as a chef for DSC 0014 - Acrylic on board - 30cm x 33cm. 2010 course, I submitted my in research by practice name them all would require
three years but I was intent
portfolio to a handful of Art through painting. a sequel to this publication.
18 Occupy Paper Issue Two 19

‘the concept AF I remember your work had a strong technology


is born out of theme when we did our degree course, did this carry
on into your Master’s?
fragmented GJ Technology as a theme didn’t carry over directly
memories of but there are some recurring elements and motifs
that resurfaced through the research process. There
architectural are concepts of geometric forms and a use of sharp
edged line, but instead of using those to relate directly
forms’ to in this case a technological object; I now use them
to create illusions of space and structure.

DSC 0001 - Acrylic on


board - 2ft x 2ft. 2010

AF What kind of themes work. One of the main I am not so concerned


and concerns are explored concerns in my practice at with referencing an area or
in your practice? How did the moment that came out idea directly. For example
they change from your of my time on the Master’s my work at the moment
Bachelor’s to your Master’s? course at NCAD is my is not linked directly to
interest in the painting as architecture or urban
GJ The paintings I produce object. To put it another way landscapes; it is more that
are to a degree intuitive, I am interested in treating the concept is born out of
by which I mean I start the application of paint fragmented memories of
straight in to painting as a constructing process, architectural forms. Over
without any back up building up different layers the last two years I have also
drawings or sketches. Over and thicknesses of sharp gained more confidence
the past couple of years I edged marks. In a similar in decision making with
have taken and collected way I am also experimenting regard to exhibiting my
hundreds of photographs with constructing physical work, i.e. what to hang and
of architectural structures 3-D structures that are how much work to show,
and spaces from the urban referential of painting as the whereas at my Bachelor
landscape that I use to constructed object. Looking exhibition I felt I had
reference the linear and back on my practice at exhibited too much work.
sharp edged forms and bachelor level my themes
structures inherent in my have changed in the way

Installation View 2010.


20 Occupy Paper Issue Two 21

AF What about your process


in general? How do you
‘my process is work?

intuitive, it can GJ As I mentioned previously


move in different my process is intuitive. It can
move in different directions
directions depending on what I am
depending on trying to do. In some cases,
especially in my current
what I am trying body of work if I am dealing
to do’ with sculptural concepts as
well as a painting process,
I will begin by looking at
or taking photographs
of interesting forms or
structures. Then I will start to
make a variety of models/
sculptures out of what is
lying around the studio, this DSC 0002 - Acrylic on board - 2ft x 2ft. 2010
usually takes the form of
DSC 0012 - Acrylic on board - 21cm x 21cm. 2010 cardboard or wood and up the process and to allow touch with that are finding
again will be very abstract me to create a tighter it tough and I respect them
and intuitive in nature. line. Canvas had to be for their convictions. As for
At any given moment I exchanged for MDF board artists that have influenced
might begin to lay down as well, because I needed me I would have to say
a variety of forms or linear a sturdier ground to paint out of the many, Tomma
marks using acrylic paint on on which also allowed me Abts, Frank Nitsche, Thomas
board and a masking tape the ability to sand the paint Schiebitz, Thomas Nozkowski
that will usually reference off if I was dissatisfied at any and Richard Tuttle. All these
fragments of the models or point. artists have influenced
photographs so in this sense my practice in that I have
the process is quite organic. AF Are there any artists out found interesting links
The colour of paint usually there that you really admire between their processes
comes from a photograph and maybe influence you? and my own, whether it
of a particular structure is similar application of
but can change or be GJ There are artists I admire paint or use of materials
layered over quite rapidly. and there are also artists or their outlook on art and
My choice of acrylic paint that influence me. Any the contemporary world in
over oil paint came out of artists that are out there general.
a sheer lack of patience. working away at the
Accustomed to oil paints at moment even though they AF You went straight from
Bachelor level, I carried on are struggling to survive your degree into your
with them into my Master’s financially would be an artist Master’s, looking back now
course but they were too that I admire. There are would you have preferred
messy so I had to change plenty of artists and writers some space from the
my process and materials I have befriended along whole academic aspect of
to acrylic in order to speed the way whom I keep in college or was it important

DSC 0010 - Acrylic on board - 2ft x 4ft. 2010


22 Occupy Paper Issue Two 23

‘going straight into the


Master’s for me was a
positive step’ DSC 0005
Acrylic on
DSC 0003 - Acrylic on board - 29cm x 33cm. 2010
board
29cm x 33cm
2010

for you to keep this up, to I guess. There were a lot of AF Is being able to work AF You have a studio space my practice personally. ‘prettyvacanT’ who put on
keep the momentum going? moments on the Master’s alongside other artists near your home, what are There are artists out there exhibitions in disused spaces
that I regretted being there; important to developing your plans for it? that are still having sold out around Dublin. In October
GJ Going straight from my I had notions of making the your practice after college? GJ Living in a small town exhibitions, and there are I will be exhibiting as part
Bachelor’s in LSAD to the wrong decision usually when GJ Again it depends on the does have its advantages still grants and bursaries of the ‘Table of Contents’
Master of Fine Art course my practice seemed to be individual, some artists prefer sometimes with regard to available. However it does project at the Limerick
in NCAD was not an easy stagnating. In retrospect to be alone and others studio space. For the past go without saying that School of Art and Design
decision at the time. I was with the nature of my need the constant stimulus two years I have been very when there is less money and in November I have my
right in the middle of the practice feeling unresolved, of fellow artists for their work lucky in that I was given a available most people are first Solo show in the ‘NAG’
dreaded thesis, trying to at the time of finishing the to flourish. Personally I am free space in an old closed going to see purchasing at the Cross Gallery, Francis
get to grips with the final Bachelor’s, I now believe quite happy to work on my down primary school which any form of art as a luxury Street in Dublin, so short term
term of practical work and that going straight into own but it is also useful and is within walking distance and not a necessity, but for I am pretty busy. Next year
Teresa (my wife) and I were the Master’s for me was a sometimes important to be from home. There are no now anyway it seems there and the foreseeable future
expecting our first baby. We positive step that I now do able to be in contact with signs of it being reopened are still some opportunities I am not sure, I will continue
both decided I should apply not regret. For other artists other artists and friends from at the moment so I am safe out there. Whether they are with my practice and apply
and if it was meant to be I it could be a different story time to time. I usually email there for the foreseeable there next year or the year to future projects and
would get on to the Master’s and I think it depends on the or phone friends once or future. after we will have to wait exhibitions. If I was given
at NCAD. After the interview individual’s needs at that twice a month for a chat and see. the choice I would jump at
I was sure I had blown it and time. I would recommend and even arrange to meet AF Has the recession the opportunity to become
I was already making plans most Bachelor’s students up at events like gallery affected your practice at AF What are your plans for a tutor at a third level
for life after the Bachelor’s. take a few years out to get open nights. Sometimes I all? the future?Any upcoming college of Art while also
Anyway I received a letter to grips with their practice in arrange to meet up with exhibitions? continuing with my practice
saying otherwise and I a real world scenario before friends to visit exhibitions GJ Having only just left as I am always interested in
started the course in NCAD taking the next step towards once a month to keep up education after six years GJ At the moment I am continuous discourse with
about two weeks after a Master’s, as some people with trends in contemporary I am not in a position to working towards a group students and artists alike.
Teresa gave birth to baby will never need to do the art, an important part of any say anything concrete exhibition in September
Naomi, timing is everything course. artists practice. about the recession and with a collective known as
24 Occupy Paper Issue Two 25

My main area of research


surrounds how and why artists
use humour in their work. This
is a subject that Ihave been
studying for the best part of
two years. My own practice
doesn’t really follow any one
particular line of enquiry, it’s
more a series of reactions to
whatever is happening to
me in my life. In that way my
practice is similar to a sense of
humour. I am concerned with
themes of originality, value and
the whole notion of being ‘an
artist’ and art-making, but of
course, that’s really the only
thing I can make work about,
as that’s the only thing I’ve
been thinking about for the
last four years. It’s like when
you’re writing an essay in
secondary school, they tell you
“write about what you know”.
Basically I make work about
trying to make original work. I
am also very interested in the
thin line between ‘paying
homage’ and ‘ripping off’.
I often use humour as a
communicative device in my
work, sometimes it is subtle,
other times it more overt.

My work is very reactionary.


I can go for months without
having an idea, then
something might happen, or I’ll
read something or have a
conversation and than I’ll
have AN IDEA, I’m sure that’s
the same for everyone. A lot
of the time the artists that I
am researching will have a
Beth Fox huge influence on the way I’m
working. I can look back at my
Recent graduate of Limerick School of Art portfolio and see what artists I
and Design talks to Occupy Paper about was reading about at the

her practice and new exhibition


26 Occupy Paper Issue Two 27

“A lot of the time I


don’t do anything,
I just watch TV,
then I have an
idea but usually
it only takes
five minutes to
make. Then I go
back to
watching TV”
Christian Boltanski

time that I made a specific The idea of the degree having to write one proposal wall. I liked the fact that the the Royal College back in I’m currently living in
piece. That used to worry show work stemmed as a sort of culmination of viewer would have to try the 90’s was being remade Brighton working and
me, but now I think it’s okay, from the system that is four years study, and have to visualise all this work that in Limerick twenty years trying to save money as
I’m all for acknowledging currently in place in the to stick to it. I couldn’t wasn’t there. In a way it was down the line. I also love I’m starting the MA in Fine
influence, embracing sculpture department vis decide which one idea like a really minute form of Stutervant as well, since Art in Central St Martins at
unoriginality. I was worried a vis The Degree Show. to stick with. I ended up institutional critique. As well she’s all about copying.The the start of October. My
that I didn’t make a lot of We are all told to write writing loads of proposals. as being very economic. artists that she chooses to Degree show is going to
work until I read this lovely a proposal for our Show I wrote proposals for work copy are what make her be re-exhibited in Cork in
interview with Christian three months before the that I had made in the Gavin Turk is obviously an so interesting though I think, September in a show of
Boltanski, he said “A lot of actual event in order to past, proposals for ideas artist that I really admire, his often she replacates an recent Graduates selected
the time I don’t do anything, lay claim to a suitable that had died along the work is funny but more than artists work before they’ve and curated by Ian
I just watch TV, then I have space in the gallery. Due way, proposals for work that. His work is all about even become established. McInerney from the Black
an idea but usually it only to my own practice being that I would like to make value and authorship, which Other artists that I love and Mariah.
takes fiveminutes to make. quite interchangeableand but could never afford, and is obviously something that have ripped off are Felix
Beth’s show in the Black Mariah, Cork
Then I go back to watching reactionary I had no idea proposals for other artists I am also really interested Gonzalez Torres, Sarah opens Septemeber 10th and runs for
TV”. That sort of sums it up what I would be making work, that I ‘appropriated’. in. I remade his plaque for Lucas, Douglas Gordon, a week
really. three months down the line, Then I just decided to stick my Degree Show. I liked the David Shrigley, Gillian
and I hated the idea of the proposals up on the idea that something that Wearing...Lots of the YBA’s...
was made for a show in (not so Y anymore!)
28 Occupy Paper Issue Two 29

Review Dana Schutz


Deirdre Kelly reviews Schutz’s new
show ‘Tourette’s Paintings’ at
The Douglas Hyde Gallery, Dublin

Thursday 15th July, saw There is also a sense of


Dana Schutz give an the cartoonish humour of
artist’s talk in the Douglas Philip Guston with inflated
Hyde Gallery, TCD to and overblown grotesque
mark the opening of features enveloping each
her exhibition, Tourette’s figure in different hues
Paintings. A large group of pink and red. Francis
gathered to hear the self- Bacon’s distorted features
deprecating American, a also comes to mind so it
graduate from Cleveland, is clear that Schutz carries
Ohio, talk us through a weight of art history
her new body of work. throughout her concept.
She exhibits from the There is a good sense
Zach Feuer Gallery and of humour emanating Dana Schutz, Swimming, Smoking, Crying, 2009.
a number of her works from the work which Oil on canvas, 45 x 48 inches. Collection Nerman Museum of
Contemporary Art, Johnson County Community College, Overland
are in all the major Schutz claims was not Park, Kansas, gift of Marti and Tony Oppenheimer and the
North American Galleries a deliberate act on her Oppenheimer Brothers Foundation.
as well as the Saatchi, part but one gets the
London. The first impression impression from the artist
upon walking into the herself that this humour
gallery is one of colour, is an essential element suffers from this syndrome his reaction be if she strange, someone on
brightness and a feeling of her own make-up. herself. For instance, suddenly leaned over and the periphery, someone
of summer due to the However , it is a more her piece, Poke, came poked him in the eye?’ that people do not quite
bright oranges, reds and black than whimsical about as she was sitting Her images therefore know what to make of,
yellows that populate her humour in that there is an in a restaurant with her are her visualisations of in essence, someone
work. The colouring is underlying sense of gloom friend and as he was thoughts and impressions with Tourette’s Syndrome.
reminiscent of the Fauvists or unhappiness prevailing. talking, her mind was going on in her head This someone however
and indeed one of her The title of the exhibition overflowing with questions. which she knows that has far more complexity
larger works has a Matisse comes from the fact that ‘Why hadn’t she noticed if she carried out in and intelligence than is
style decorative patterned Schutz can feel stifled or before how blue his eyes real life, she would be apparent to the viewer.
background in intricate awkward around certain were?’ ‘What would considered as someone Swimming, Smoking,
swirls of blue and black. situations almost as if she
30 Occupy Paper Issue Two 31

Crying and its counterpart contradictions which


Shaking, Cooking, Peeing are clearly more subtle
came about through a than apparent from her
mixing of elements or imagery.
actions that cannot be This opposition conveys
accomplished together. an air of tension in the
One or two are capable work although the artist
of being performed herself would not be
simultaneously but when drawn on this. She does
the third angle is added, not feel any anxiety
the result is impossible. or apprehension when
Even women with their undergoing her process
ability to multi-task are but she accepted that
inhibited by this third if that was what people
element. Schutz recalls felt than perhaps it was a
how as a teenager subconscious act on her
she loved to swim and part. She is perhaps, she
while underwater shout admitted, releasing built-up
her head off to release anxieties through her work.
her tensions. She always One image has a
thought that being distorted face with
underwater muted her sharp protruding angles
screams until she heard emanating from his/her
someone shouting while throat. Schutz recounts
swimming and realised how this autobiographical
that everyone had been imagery came about
able to hear her all through her own panic
along! This led her to and embarrassment. She
think of things that it did not have the correct
was not possible to do change one day in a
while swimming. Crying store or department and
and swimming go nicely found her ear flaring
together because nobody involuntary, which she
realises you are actually shows in the image, while
Dana Schutz,
Shaking, Cooking, Peeing crying. Smoking and crying her throat contracted and
2009, Oil on canvas also seem complimentary she could not get the
72 x 60 inches but swimming and words out. It felt like a
Private Collection
smoking are a no-go, an bird had been trapped in
impossibility.Shaking and her throat and the only
cooking can combine way she could project this
when one is performing sense of helplessness was
tasks in the kitchen. through an image of a
Peeing and shaking are sharp and distorted throat.
also possible but again Obviously then there is a
Exhibition runs at the Douglas Hyde
adding all three together lot more to Schutz than Gallery from July 16th to September
just does not work. She playful, colourful and 15th 2010. A catalogue is available
thus works with the gestural painting. from the Gallery to accompany
the exhibition.
idea of opposites and www.douglashydegallery.com
32 Occupy Paper Issue Two 33

OP Hi Laura, so can you tell us what kind of themes and concerns are explored in your
practice?

LMcM I am concerned with the reinvention of found objects, approaching each object
differently, depending on the surface. I use a wide range of mediums including paint,
collage, drawing, and print to convey a narrative that comes about by presenting a

Focus
number of different images collectively. I aim to create work that requires a second
glance from the viewer by subverting traditional methods of hanging. My recent work

Laura McMorrow explores themes of geology, taxidermy, and drunkenness.

OPYou use a lot of found and discarded materials and that’s been a continuous thing
Laura is a graduate of Limerick since college. Is that something that comes naturally, are you quite a collector?

School of Art and Design and is LMcM I’m a hoarder, I can’t throw anything out. I’d like to think a lot of artists have the
currently a member of Wickham same problem! It just makes more sense to me to recycle what is close to hand. I’m
particularly prone to collecting cardboard packaging, and I do my bit for society by
Street Studios. Here she talks to keeping the charity shops in business.
Occupy Paper about her practice
and recent exhibition.
34 Occupy Paper Issue Two 35

OP A lot of the images you work from are found images too, does the collecting
aspect also apply to your source material?

LMcM I used to work from my own photographs, but one day I decided I wanted to
paint a polar bear, and it wasn’t feasible for me to take the photo myself. So since that
I’ve been using Google image search. It’s like having a photographic memory. Except
everything is slightly different to how you remember it. I have folders of source material
saved on my computer, they are often poor quality, but act as a good starting point.
The vastness of information on the internet means I have used images from many
different sources, including a pregnancy blog, and stills from youtube videos. I think
scrolling through pages of thumbnails provides a bombardment of images, that
echoes the found nature of the objects I work on.

OP What can you tell us about your process in


general? Give us some insight into how you work
‘There is work
LMcM My work is quite process based, I sit at my desk
everywhere,
surrounded by clutter, and develop ideas I have
either stored in my brain, or in my notebook. There is
paintings
a playfulness in my approach to making paintings,
and my studio has been compared to a laboratory.
balance
There is work everywhere, paintings balance on other
paintings, and pieces leaning on the ledge of the
on other
skirting board. I tend to use every available space. The
work is small scale, but when presented collectively
paintings,
they play off against one another. My work tackles
the boundaries between real and illusory, presenting
and pieces
the works as artefacts are an import parallel to my
paintings.
leaning on
OP Are there any artists out there that you really
the ledge of
admire and maybe influence you?
the skirting
LMcM I was really impressed by a Fergus Feehily show
I saw in the Douglas Hyde Gallery recently. I also
board’
admire Thomas Mailaenders’ work. He’s a French artist
I’ve come across recently. And Hank Schmidt in Der
Beek, because he’s funny.
36 Occupy Paper Issue Two 37

‘ If the
studio is
busy, I
feel more
inclined
to make
work’

OPYou won the Contact Studio Bursary in college and you’ve also been working in
Wickham Street Studios since last year, was it important for you to keep working in a studio
environment and do you think that being able to work alongside other artists is important
to developing your practice, especially after college?

LMcM It’s great for bouncing ideas around, and for motivation. If the studio is busy, I feel
more inclined to make work. I was lucky to get a space in Contact Studios, which was a
great space for the transition from college to real life. Then the Wickham experience led
to the involvement with Occupy Space, which has been invaluable. And it feels like we
have really contributed to the art scene in Limerick.
38 Occupy Paper Issue Two 39

OP You had an exhibition recently in Belfast, how did that come about? Are you looking
forward to starting the MFA in Belfast this year?

LMcM I submitted a proposal to Queen Street Studios Gallery, and having the show there
in July was a great introduction to what Belfast will be like when I move up in September
for the MFA.
40 Occupy Paper

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.

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