Nothing is ever as it seems

17 October – 13 November 2015

For this exhibition, five artists from Northern Ireland, selected from an open call, responded to the theme of ‘Nothing is ever as it seems’.

The exhibition featured hand made sculptural glasswork from Louise Rice, fragile textile garments by Heather Burgess and ethereal, layered images from Siobhan McQuade. Dave Loder and Katrina Sheena Smyth both explored the form of language – Loder with a body of sculptural works and Smyth through a new site specific performance created for the exhibition.

Saturday 17 October 2pm-5pm

Opening reception with discussion with the the artists and a live performance from Katrina Sheena Smyth

Wednesday 21st October

4pm – 6pm – Craft Conversations with Craft NI

About the Artists

Louise Rice

Louise Rice, originally from County Armagh, studied glass at Edinburgh College of Art and later at the Reitveld Academie in Amsterdam where she developed a distinctive body of sculptural glasswork, often combined or juxtaposed with found objects and other materials. She remained in the Netherlands for four years, assisting artists such as Richard Meitner and Richard Price and acting as a tutor and mentor to artists working with hot glass. Since returning to Ireland in 2004, Rice set up a hot glass studio at the Leitrim Sculpture Centre in Manorhamilton where her art and teaching practice was based for almost ten years.  She has exhibited widely in the UK, The Netherlands, Germany, Ireland, the US and some of her pieces form part of the contemporary glass collections of the Ulster Museum, the Ernsting Stiftung in Dusseldorf, and the National Glass Museum in the Netherlands. In 2014, Rice began work on creative engagement projects with children and older people at Fermanagh County Museum, where she worked until her recent move north to Moira in Co. Down.

 

Heather Burgess

Heather Burgess makes work is in response to life changing events that have taken place over the last number of years; in 2012 she was diagnosed with Thyroid Cancer.  The fabric of her work is informed and inspired by traditional textiles, for example, samplers, and quilts.  She is drawn to these techniques for their aesthetically pleasing and decorative nature. Her real passion is to keep traditional processes current, along with employing the use of modern machines in a sympathetic manner, to make her work.

 

Siobhan McQuade

“As a visual artist my research is conducted through my ongoing studio practice.  My themes and forms are focused on the investigation and articulation of historic, political and public spaces. I locate the invisible feminine and childhood presence within those contested environments, to give a voice to the witnesses of institutional control and political violence. Across oral, written and pictorial historical accounts their testimony has been eroded; they have become ghosts.  My work reimagines the presence of the female/ child and as such, is necessarily tenuous, mobile and shifting.”

 

Dave Loder

“I am an artist-researcher with a continuing practice concerning the philosophy of language and the development of what I have termed linguistic materialism. The following artworks are part of an ongoing series of text based experiments and interventions that seek to grasp and elucidate the materiality of language, and that treat language as a repetitive condition from which meaning is always already dissolved. These artworks and the abstract and itinerant procedures of their production serve to rupture and erode meaning from language, reduce the linguistic events to a material condition, not to uncover or propagate new messages or meaning, but rather seek new and alternative linguistic ontologies and ways of being in language.”

 

Katrina Sheena Smyth

My work plays with psychosocial interruptions through recorded and live performance, composed of subtle gestures that invade the space of the viewer. It has a gothic sensibility and stillness to the constructs that sometimes drifts into the uncanny. In digital work I use still images of recorded performance that are stitched together and sped-up, relocating the ‘affect’ felt by the viewer of live performance to the moving image through digital ‘effects’