Oil on board
56 x 38 cm
Purchased from the Inside/Outside exhibition at The Basement Gallery, 1999.
|2||Table Set Two
Oil on Canvas
76.5 x 46.5 cm
Purchased from A Domestic Suite exhibition at The Basement Gallery, 2001.
Carl Doran is originally from Co. Westmeath. He studied Art and Design in Falmouth, Cornwall and at Limerick School of Art and Design. He lives and works in Limerick where he is an active member of Contact Studios.
Read more about this artist here:
Carl’s initial studies during his BTEC foundation in Art and Design in Falmouth, Cornwall gave him an insight into the myriad visual art disciplines and involved a lot of drawing which gave him a solid foundation from which to progress. He stayed in England for a further year before returning to Mullingar, Co. Westmeath. He continued his studies in Ireland, first completing a PLC course before moving on to a degree in painting from Limerick School of Art and Design. After graduating, he joined RAP (The Real Art Project), which was instrumental in setting up Contact Studios in Limerick.
Evening In, one of the works in the Louth County Collection comes from a time when he was completing his degree and had been making a series of oil paintings centring around interiors, mostly through layering glazes, giving a feeling of depth and atmosphere. The space portrayed is the apartment he shared with his friend, fellow graduate and studio colleague, Dromiskin Artist Ciarán O’Sullivan. It is one of the first paintings he did on a palette, an idea that germinated through his desire to react to a readymade surface. In later works he has repeatedly used the surface of paintings themselves as the palette incorporated into the compositions. Melted coloured crayons are used here to give added texture which the artist feels add a sense of playfulness to the work.
Table (set two) is from a series of Interiorscapes the artist made in 2001/2002.
The title references theatre/film through the word ‘set’, and table settings for two, a kind of pun, and a reference to the thought process involved.
It is an imagined space and the artist’s aim was to the combine pastel colours to create drama and atmosphere, while laying just enough content (a table and two chairs) to draw the viewer in, and create narrative tension, hinting at a story, alluding to the prospect of an incident.
A lot of the artist’s work is about this attempt to gain the viewers’ interest initially in an image or scenario, and to ultimately explore both the narrative and formal qualities of the work.
Discussing these works, Carl explained:
“I am still fond of these works and feel there was a real sense of progress between the two – one couldn’t happen without the other. There is a leap technically between the two, but a similar aesthetic, and a similar intention. I believe in there being two ways of evaluating art – intention and execution, and with these two pieces there was a good balance in this vein.”
Carl is currently based in Contact Studios, where he has been Chairperson for a number of years. He is working on a series called ‘Cats’ Tales’ which is a series of pure collages, oil paintings and drawings, begun when he befriended a stray cat (Cáit) on moving in to a new house. He has constructed tales based on her possible whereabouts (she went missing) as well as tales of her progeny. He balances his studio work with working on public art projects and exhibits his work on a regular basis.
His advice to anyone thinking of making art as a profession?
“Firstly, to find space to work in outside of your residence, make art for the right reasons, be nice to people and don’t overprice your work. The next challenge is to find your own routine, and to be happy with the volume/quality of the work made. Then to get your work shown is a major problem, and to be able to afford to present it. And of course, being able to have a reasonable quality of life with little means is perhaps the hardest challenge for an artist.
It really is all about doing what makes you happy. I couldn’t imagine doing anything outside of art on some level.”
Find out more about this artist here: www.carldoran.com
|1|| ‘Ain’t Nobody Got Time for That’
Oil on canvas, antique taxidermy boars’ head (Ernesto)
with resin plaque.110X150cm
Corcoran College of Art and Design, Washington D.C., BFA, Honours, 1982-1984, 1985-1987
Studio Art Centres International, Florence, Italy, Fine Arts, 1984-1985
Pyramid Atlantic, Silver Springs, Maryland, Printmaking, papermaking and book binding, 1986-1987
The Crawford College of Art and Design, Cork City, Ceramics, 1994, Life painting, 1995
Honours, Awards, Grants
The Cill Rialaig Project Residency Award, Spring 2014
Louth County Council, Arts Act Grant, Bursary, Autumn 2012
Tyrone Guthrie Residency Bursary, awarded by Louth County Council, Spring 2012
Louth County Council, Arts Act Grant, Artists Collective, Drogheda, Spring 2010 and 2009, Autumn 2009
Arts Council, Capital Grant, Artists Collective, Drogheda, December 2009
Leonardo Project, Craft Exchange program, Louth Craftmark, 2009-2010
Droichead Arts Centre, Drogheda, ‘Who Gotta Match’, June 2016-August 2016
Garter Lane Arts Centre, FOH Space, Waterford, ‘Briar Patch Born and Bred’, June-July 2014
Upstairs Gallery, Watergate Theatre, Kilkenny, ‘Go Big or Go Home’, August- September 2013
Beaulieu House, Co. Louth, ‘Boom Shakalaka on the Duck Lawn’. Outdoor installation, 2014
Cill Rialaig Arts Centre, Ballinskelligs, Co. Kerry, ‘ART 250’, group show, July 2014
Hive Emerging, Waterford, ‘WET’, group show February 2014
Droichead Arts Centre, Drogheda, County Louth, ‘Unified’, group show November 2012
Drogheda 600 Arts Collective, ‘Negotiations‘, Drogheda, County Louth, group show, November 2012
The Print Point, Drogheda, County Louth, group show as part of Culture Night 2013, 2012 and 2011
Paper Girl Dublin Exhibition, Great Strand Street, Dublin, June 2012
The Artists Collective, group show May 2010, Drogheda Fringe Festival 2010
Corcoran Gallery, Juried Show, Washington D.C. 1987
Swann Street, Group show, DuPont Circle, Washington D.C. 1986
Govinda Gallery, ‘Installation on the Docks’, Georgetown, Washington D.C., graffiti art installation for the opening party for Andy Warhol’s America book and Ads series 1985
The Ritz Hotel Project, Washington D.C., student curator and participant in performance and installation with Washington and N.Y. Projects for the Arts, 1983
Various Group shows with colleges
Related Work experience
Highlanes Gallery, Drogheda, invigilator, Schools programme facilitator
The Print Point, Drogheda, workshop facilitator
FAS Kick Start Program, workshop facilitator, Drogheda
Edgewater exchange program, Drogheda, workshop facilitator
Louth Craftmark, Drogheda, Craft classes
After school project, Cork, Craft classes
Private tutor, Washington DC and Paros, Cyclades, Greece
‘Last Chance Meal’, Contemporary Art Publication, Editor
Jobs in Field,
OPW, Battle of the Boyne Visitors Centre, Oldbridge, Co. Meath, June 2014-December 2014, May 2015-October 2015, April 2016-October 2016
Highlanes Gallery, Drogheda, January 2013-January 2014
Louth Craftmark, Drogheda, April 2007-January 2012
Graffiti Theatre Company, Cork, various dates, 1990-1995
Crawford Art Gallery, Cork, 1993
Gibson and O’Rourke Interior Design, Dublin and Cork, various projects, 1992-1994
Judge Gallery, Washington DC, 1986-1987
|1||Arrested Development II
Monoprint on paper
43 x 52 cm
|2||Arrested Development III
Monoprint on paper
43 x 52 cm
Elaine Griffin holds a BA in Design and a Master of Art, both from the National College of Art and Design. She has been the recipient of a number of awards including the Artist’s Residency in Heinrich Boll Cottage, Achill, The Tyrone Guthrie Bursary and she was the primary winner of the Liam Walsh award. Her work is held in The collections of Queens University, Belfast, The Boydell Glass Collection, Kunstation Kleinsassen, Germany, Mayo County Council Collection and the collection of The National Museum of Ireland.
Read more about Elaine’s work here
Elaine Griffin majored in glass-making at NCAD. In terms of working with glass as a medium, she says: “I think I was very attracted to the luminosity and vulnerability of the material”.
In her final year she won a competition to design a body of one-off works at Waterford Crystal which ran concurrent with her final year show. This propelled her into a career immediately on leaving college.
She lectures at The National College of Art and Design which helps to supplement her art-making and advises anyone thinking of making art as a profession to “get trained up in the business side of making work: making grant applications, applying for commissions and making tax returns. I think it is a difficult career choice, particularly in the current economic climate when there are so many cuts in the arts. All that being said, it can be an incredibly rewarding career and if you are moved in that way, you will just have to be creative – it’s part of your nature”.
Her works are held in the collection of Dundalk Town Council and are black and white monoprints: white ink on black paper. They were made by the artist covering her face in white paint and then printing the impressions from her face onto the black paper. She says of the pieces “they are pretty strange and emotive works”.
The pieces were made in 2002 as part of a body of work entitled Arrested Development which formed the body of research and outcomes for her MA which she did at NCAD.
“The whole body of work, which was mainly sculptural in nature was a commentary on the building boom that was going on in Ireland at that time and how the need for ownership of a house/apartment was putting people under undue stress and was ultimately crushing their spirit and their life……The larger sculptures in this exhibition where large coffin shapes with glass figures in distressed poses under concrete rubble and sealed in with double glazed units.”
When she was making this body of work, it was the height of the boom and Ireland was only on the way up. “I was certainly seen to be a doom-sayer in certain quarters. As it turned out this body of work has turned out to be incredibly prophetic and I wonder if the body of work was shown today how different the reaction would be to it. Interestingly when I first showed the work around a number of venues in Ireland it was always people from working class backgrounds who could really relate to the work. I’m sure that demographic would be different today.”
Elaine has been working on public art commissions for the past number of years which she feels has been a natural progression from her earlier studio work. The majority of her work revolves around the relationship of people to their environment and how external factors influence or form perspective. She feels that working in a public realm allows for further exploration of these factors and the idea of working with the permanency of bronze after the fragility of glass is appealing to her. A lot of the public art commissions she has undertaken have a community element to them and often involve collaborating with other experts or members of the community where the work is to be sited, for example local historians and archaeologists.
“I really enjoy this working process and the more expanded view that producing art for public spaces brings with it. Working with community also gives a strong meaning and value to the work that is quite opposite to studio practice. Ultimately I would like to be working in both ways in my career as certainly one mode of practice informs the other and vice versa.”
Find out more here: www.elainegriffin.net
|1||Eidetic Amalgam 4
Oil & photo-transfer on canvas
76cm X 90 cm
Purchased from the Eidetic Amalgams exhibition at The Basement Gallery, 2006.
Claire Halpin is from Dublin and studied Fine Art at the Dublin Institute of Technology and at Gray’s School of Art, Aberdeen. She had a number of solo exhibitions in Ireland and has exhibited widely in group exhibitions in Ireland, Georgia, China, the UK and the USA. Her paintings are included in many private, public and corporate collections.
Watch a short video of Claire Halpin here:
|Carl X Hayden|
Photographic print on aluminium
120 x 100 cm
Purchased from Dividing Lines, an exhibition at The Basement Gallery in 2007.
Carl X Hayden was born in Cyprus. He studied at the Ecole Supérieure d’Études Cinématographique in Paris before going on to receive a first class honours MSc from Dublin City University. His training and professional background is in camera work on feature films and this manifests in his still pieces. He has exhibited widely throughout Ireland and is based in Dublin.
Find out more about this artist here: www.cxhayden.com
This piece is one from a photographic series entitled Borders No Borders in which the artist examined the landscape at specific border crossings within Ireland. He explored the dynamic between neighbouring regions and investigated whether formal lines drawn between two points within a landscape actually manifest into separation at close proximity.
Carl X Hayden is a Dublin-based photographic artist. His interest is to produce work that focuses on the temporal, shifting nature of perception. It expresses a duality between what seems to exist and what may not exist, between what is seen and unseen. The work privileges the perception of the viewer over any predetermined concept of the artist. It expresses a tension between the visible and invisible, encouraging the viewer to construct an individual, personal account of the image. Each interpretation is equally valid.
CX Hayden’s training and professional background was in camera work on feature films. The precise and exacting nature of the cinematographic discipline is applied to his photographic stills. All of the work is shot on medium format colour reversal film. The tonal quality and clarity of this medium best reflects the subjects being studied, which suits the reflective nature of the work. His solo exhibition, Border No Border, from which this work is taken, explored the concept of borders at specific county boundaries in Ireland. Our psychological interpretation of these invisible lines lay at the heart of the work. The subsequent exhibition Enclose, 2007/2008 continued the exploration of spatial constructs. Carl X Hayden returned to Ireland in 2010 after three years living in Mozambique. While there he worked on a series of photographs entitled, The Mozambique Project, a photographic study of the relationship between visible cultural artefacts and their imprint on the new collective psychology. Work from The Mozambique Project was shown as part of the 2012 Royal Hibernian Academy Annual exhibition.The Mozambique Project will be first exhibited at the The Courthouse Arts Centre, Tinahely, Co. Wicklow in 2013.
|1||Primary: Red Yellow Blue
Mixed media & wood
20 x 9.5 x 9 cm
Purchased from the Tables/Tableaux, exhibition at The Basement Gallery, Dundalk, 1998
James Hayes was raised and educated in Canada. He holds an Art Diploma from The Central Technical School, Toronto, Canada, and in Ireland a BA from Dun Laoghaire Institute of Art, Design and Technology, and an MSC in Multimedia Systems from Trinity College Dublin. His work is held in collections across Ireland, England, Switzerland, the US and Canada.
Read an interview with this artist here:
What kind of influences led you towards becoming an artist?
I was raised in a very liberal thinking family, my parents made sure I understood the importance of the arts in society. My father is a playwright, an actor and a teacher, so my entering the arts was not seen as unusual. I was always drawing or making as a child, and a friend in secondary school encouraged me to go to Art College. I have always loved creating and using my imagination, so my career didn’t begin but rather it developed.
I have a love of the Arts and wanted to be my own boss. I have had standard nine-to-five jobs but found that my creativity suffered as a result. I have a continuing impulse to create work and constantly experiment with a variety of media including photography, painting, drawing, sculpture, and digital technologies. When I am not actually making artwork I am researching new techniques and approaches that I might use in my artwork, be they traditional craft skills or computer aided design.
What advice would you give to anyone who is thinking of making art as a profession?
If you do not have a constant need to create, don’t do it. If you are not always looking for new ways to create, don’t do it. If you are not thinking about your artistic practice 7 days a week, 365 days a year, don’t do it. An artistic career will be filled with rejection and failures; you must be willing to continue because you love doing it. An artistic career is not about making money, but you must treat it as a business in order to achieve any kind of success, so get some business skills under your belt. An artistic career is not necessarily about success. If you love art but need comfort, get a well-paid job and spend your money enjoying other people’s artistic practice.
How have you kept your artistic profile visible?
I created a website very early when the internet was in its fledgling days, and I have kept it up to date ever since. It requires a major overhaul about every 2 years, which takes a large investment of time and learning new digital skills. I have been a member of the Visual Artists Ireland since 1993 and have my art exhibitions and events promoted in their bulletins. I have a Facebook account, which I use to connect with other artists and to post pictures of new artwork. I have a LinkedIn account and I use it to keep my CV up to date and to connect with past colleagues.
Can you tell us about the work you have in the Louth County Collection?
Primary: Red Yellow Blue, is a romantic piece, as many of the artworks in that exhibition were, and I would say it is strongly related to dream imagery. The chairs are figurative (representing an individual) as well as symbolic, and the small boxes are like small contained universes in the same way that a fragment of a dream can contain a universe of imagery or information. They are snapshots in time. They are a continuation of an earlier body of photographic based artwork, but are a swing 180 degrees from a very dark and Gothic approach to symbolism. These are very colourful and optimistic. As always, my artwork is strongly influenced by events in my life. I love this piece and I am still very happy with how it turned out. I am glad it is part of a permanent collection.
Tell us a little about your current practice
I still exhibit smaller artworks in group shows and as well as permanent public art, I have also created larger temporary land pieces. I am also actively involved with an on-going investigation into Bronze Age casting technology through the group Umha Aois, a collection of artists and archaeologists who organise symposia on a roughly annual basis. I have been an active member and administrator of Umha Aois since 1996.
My current art practice is very much centred on public art commissions. A lot of my public artwork is inspired by my long-time interest in fractal mathematics. I am mainly working in bronze, or laser cut stainless steel, and/or concrete, however I am always investigating new approaches to creating artwork so I do not limit myself to a single media or approach.
Find out more about this artist here: www.lorjames.com
|1||Allegory and Self
Collage on paper
62 x 47 cm
Purchased from the Iomhá exhibition at The Basement Gallery in 2006.
|2||Open Book II
Felt, paper, canvas, bitumen & paint on canvas
40 x 31 cm
Purchased from the Time Minds exhibition at The Basement Gallery 2001.
Brian Hegarty was born in Dublin and is now based in Drogheda, Co. Louth. He studied at Coláiste Dhulaigh and at D.I.T. College of Marketing and Design. He experiments with a variety of media in his work which oscillates between the representative and the abstract. He has exhibited widely throughout Ireland as well as in the UK and the US.
Read more about this artist here:
Allegory and Self forms part of the collection of Louth County Council. It is one of a series of works entitled From Bone to Satellite. The intention of the artist was to make it almost a three-dimensional form yet still using the flat surface plane.
“It was about trying to present myriad ideas simultaneously. It is about fragmentation, fracture and our interconnection with the contemporary world.”
Open Book II, which is in the collection of Dundalk Town Council, is one of a series of over thirty works entitled Open Book.
“To me it is a sketch in a way. I was experimenting with materials like roofing felt, bitumen and varnish etc. I never use a notebook so in a way this series was my notebook hence the title Open Book”.
Brian’s new work retains a lot of the elements of his previous work while introducing new components to bring unusual qualities to his pieces.
“I am re-appropriating old vinyl record sleeves, using the sleeves as my material source, changing their narratives and adding collage elements. The work although still at early days, has a working title of Chronological Disorder.”
To find out more about this artist visit: www.brianhegarty.com and view our film to view Brian at work.
Acrylic and Gouache on Fabriano 5 paper.
100 x 70 cm
Purchased from the artist’s solo exhibition at The Carlinn Gallery, Carlingford in 2007.
Raymond Henshaw is an artist and curator. He holds an MA in Fine Art from Nottingham Trent University, a BA in Fine Art from Manchester Metropolitan University and a Diploma in Graphics and Advertising from Salford Metropolitan University. He explores a variety of subject across a number of media, including printmaking, painting and photography. He has exhibited extensively throughout Ireland, and in Europe, Africa and the USA.
Read more about this artist here:
“Without art, I think my horizons and understanding of the world and its cultures would have been narrower”.
Raymond Henshaw took the traditional route through Third Level to study Art. At college, he had two tutors who were highly influential, Harry Stirrup and Ken Wilson who gave him his initial chances and instilled in him a sense of self-belief. He went on study at University and to go through to a period of finding his place within society and of growth and development.
“What I still like about the piece is the intensity of the blue, it’s deep and rich.”
The artwork in The Louth County Collection, Calm, is a fake seascape and is an amalgamation of several shots the artist took of Shelling Hill, Templetown Beach and other areas in the Cooley Peninsula.
He took elements from the photographs and combined them through Photoshop to create the exact seascape he had envisaged. For this work, notions of reality interested him: What is true/false and what can be constructed reality? He feels that at the time of making the work, the ‘fake’ reality of television shows etc. had seeped into elements of his work and manifest themselves in this simulated seascape. It was also a precursor to other works, leading to several more seascapes that had very different narratives which included more historical references and incorporated poetry and text alongside the image.
Raymond’s current practice centres on the everyday object as a poetical metaphor and taking utilitarian objects, combining their functional associations with imagery, text, and location, to impart a new visual narrative.
These narratives function around notions of transportation of cultural values and its symbolism. In travel when people migrate, they take their cultural belongings and add them to the place they newly inhabit. This can be more readily seen through cuisine, music, stylistic changes in dress, theatre and art.
He is also expanding a body of work that has wider narratives that offer reflections on the transient nature of life and mortality. Questions such as How do we individually and collectively leave marks/traces of our existence on the world? are posed by his work. To attempt to answer these questions, he is documenting and archiving the existence of people he comes in contact with. He takes photographs on location or at his home when friends call. A personal archive which is filtering into installations and digital pieces.
Although the artist is not one of those portrayed, he is the catalyst for this group, his own archipelago of relationships brought together through work or socially, and visualised in his artwork.
Find out more about this artist here: www.raymondhenshaw.com
|1||One More Cup of Coffee
Oil on paper
142 x 142 cm
Purchased from Dub Glégorm, an exhibition at The Basement Gallery in 1995.
Darragh Hogan is from Dundalk and studied at the Glasgow School of Art and at The National College of Art and Design, Dublin. His awards include the Fulbright Fellowship, The Arts Council of Ireland Postgraduate Scholarship and the P.M.P.A award. He is Director of The Kerlin Gallery in Dublin.
|1||Ardee DancesFor Fiddle and Baroque Strings
Rachel Holstead is a composer from Corca Dhuibhne in the southwest of Ireland. She writes instrumental, vocal and electronic music and enjoys collaborations with artists in many different artforms. In recent years, she has written music for the Irish Baroque Orchestra, the RTÉ Vanbrugh Quartet, the Irish Chamber Orchestra, the Ulster Orchestra and Sinfonia Viva. She has written works that feature traditional Irish musicians for the Kerry International Chamber Music Festival and Ardee Baroque and has been commissioned by RTÉ, BBC Radio 3, Moving on Music and Louth County Council (through the Percent for Art Scheme). Her electroacoustic works have been performed in Germany, Spain, Canada, the U.S., Mexico, the UK and Ireland. In 2005, she graduated with a PhD in composition from Queen’s University Belfast, where she worked under the guidance of Professor Michael Alcorn at the School of Music and Sonic Art. Before that, she completed a music degree at Trinity College, Dublin, where she studied composition with Kevin O’ Connell and Donnacha Dennehy. She has attended the Dartington International Summer School and the Ennis IMRO Composition Summer School (now the Irish Composition Summer School) http://www.cmc.ie/articles/article1074.html
‘ I do not want my music to be confined to what is considered beautiful within any one style or culture. I always compose as a listener, and constantly question whether the music leads the ear or leaves it behind ‘Rachel Holstead