This is not my voice speaking
CIT Wandesford Quay Gallery
July 15 – August 1
Preview: Tuesday July 14th, 6pm
Opening speakers: Catherine Fehily, Head of CIT Crawford College of Art and Design and Ángel Luis González Fernández, PhotoIreland Founder and Director
The work in this exhibition reflects the diversity of contemporary practice involving lens-based processes. These five artists use photography as a tool, or as a means to an end, with the selected works appealing as much to the tactility of surface textures and spatial presence as they do to the optical.
Dorje de Burgh
Exhibitions include: Hamburg Triennial of Photography, Hamburg, (2015); The 185th Annual Exhibition, Royal Hibernian Academy, Dublin, (2015); Greetings From Ireland, City Assemble House, Dublin, (2015); A Modern Panarion/To Seek Where Shadows Are, Hugh Lane Gallery, Dublin, (2014); and New Irish Works, Duo Gallery, Paris, (2013). He is currently pursuing an Art in the Contemporary World MA at the National College of Art and Design, Dublin. Dorje de Burgh lives and works in Dublin.
Exhibitions include: Too Soon, Too Late, Mart Project Space, (2015); An Egg in the Sky, Siamsa Tíre Gallery, Tralee (2013); A Ride Full of Traps, Bergen Kunsthall, Bergen, (2012); WORK HEAD, NCAD Gallery, Dublin, (2012); NEU/NOW Live Festival & Online Festival, Porto, (2012); Potemkin Village, Hordaland Kunstsenter, Bergen (2011); Exploring the Extraordinary, University of York, York, (2011). Jason Dunne Lives and works in Dublin
Exhibitions include: Videonale 15, Kunstmuseum, Bonn; Roadkill, IMMA, Dublin, (2015); Pallas Periodical Review #4, Pallas Projects/Studios and Ormston House, (2014); Wade-In, Eastern Edge Gallery, St. Johns’s, Newfoundland, Canada and Lewis Glucksman Gallery Cork, (2014); EVA International 2014, Limerick; Images Festival,(2014), Toronto; Futures ’13, RHA, Dublin. She is co-curator of PLASTIK Festival of Artists’ Moving Image. Jenny Brady lives and works in Dublin.
Name: Roseanne Lynch
Exhibitions include: Meta- Perception Club, Centre Culturel Irlandais, Paris, (2015); Roseanne Lynch at Sternview Gallery, Cork, (2014); The Infinite Line [Search for the unknown], Tactic, Cork, (2014); Roseanne Lynch and David Groppi, nag gallery, Dublin (2014); New Irish Works Ormston House, Limerick, and Duo, Paris, (2013); Matter, nag gallery, Dublin, (2013). Roseanne Lynch lives and works in Cork and is represented by nag gallery, 59 Francis Street, Dublin.
Exhibitions include: Magic Touch, CCA Derry – Londonderry, Northern Ireland, (2014); Mammouth, Treignac Projet, France, (2014); Climb Under a Spell, Treignac Projet, France,(2014); Fortnightly Features Presents, Kerlin Gallery, Dublin,( 2014); Periodical Review #3, Pallas Projects/Studios, Dublin, (2013); Artist as Curator – Spectacle in Photography, Belfast Photo Festival, (2013); OUTBOX, Cork, (2012). Pádraig Spillane lives and works in Cork.
This is not my voice speaking is running as part of Cork Photo 2015, please have a look at http://corkphoto.com/ for more information on this year’s festival.
This is not my voice speaking features five artists whose work engages with ideas around physicality, sensation and desire. The title is taken from Jan Verwoert’s essay, ‘Standing on the gates of Hell, My Services are Found Wanting’ which describes the ‘hell’ of the contemporary as a depthless fantasy of endless renewal and excess, and argues that the role of the artist is to create a liminal public space of contemplation and critique. Signaling less a thematic than an attitude or atmosphere of playfulness undercut by melancholy, the works selected function as an affective spur to reflection, appealing as much to spatial presence and the tactility of surface textures as it does to the cerebral.
Jenny Brady‘s sumptuously shot film Bone wrong-foots the viewer, juxtaposing shots of patient Labradors in a photography studio with disconcertingly crass dialogue described only through subtitles. The misogynistic banter is deeply unsettling and concentrates our attention on the use of language as a tool of control, subjugation and power. Similarly, Pádraig Spillane‘s spare yet strikingly affective installations produce a frisson of physical discomfort. Crush (Every Time we Touch) juxtaposes a high res photo of an open mouth and protruding tongue with a yard brush. The plastic bristles of the brush rest against the tongue’s glistening, vulnerable surface and the disjunctive pairing produces a visceral shudder.
Spillane’s spatial intervention; the two dimensional image made sculptural with the addition of the found object, is a tactic expanded on in different ways by Jason Dunne and Roseanne Lynch. Lynch elaborates on her investigation of the subtle transitions between two and three dimensionality, folding her austere but sensually appealing photograms into minimal sculptural forms. Dunne’s installations combine flimsy two dimensional images of nude bodies on acetate or cheap photocopy paper, with strange foamy or viscous protrusions. These naked bodies in contorted poses, often seen from behind, are less erotic than grotesque or disturbing and create a charged confrontation with physicality that is fraught with an awareness of precarity and insubstantiality. A counterpoint to these twisted, abject figures is provided by Dorje de Burgh, whose image of physical transport makes luminous the everyday; a girl on a trampoline is caught in mid air, suspended in a haze of light flare, as if the atmosphere has condensed enough to hold her in place.
This is not my voice speaking reflects the diversity of contemporary practice involving photography, disrupting, deconstructing and recreating expectations of the medium. It draws together work that is linked less by style, strategy or conceptual conceit than an engagement with the corporeal, with desire and with the viewer as an embodied presence – this is work that produces an effect on the central nervous system.