Tag Archives: NCAD Painting

Buse Kanlikilic – MFA Graduate, 2017

Buse Kanlikilic, Clematis, acrylic on fibreboard and wall. Dimensions variable

This work here explores the relationship between traditional Turkish arts and the process of image making in the context of contemporary art. Referencing ornamental patterns from the arts of the Ottoman Empire, familiar visual elements are combined with significant plant motifs and three dimensional installations -creating unique patterns that have a distinct language.

This body of work is called Disposition and it symbolises the pleasure of seeing; of being conscious of the world around me and finding the alchemy between the past and present.

Disposition extracts the floral and geometrical patterns from Ottoman ornamentation and reconfigures it through a painterly medium and process. The patterns are then repeatedly built, deconstructed and rebuilt.

Buse Kanlikilic, Violets on the Rug, acrylic on wall

The large murals in the first room draw inspiration from traditional Islamic ceramic tiles, pottery and textile arts such as carpets and embroidery; while the tension and synergy between the organic components and fractal patterns rediscover the importance of elemental rhythms of nature, in the second room.

Buse Kanlikilic, Tulip Mania, acrylic on hand cut oval wood

The materials used in the assembledges (housepaint, acrylic, spray paint, marker, fibreboard, paper, flowers, thread) are integral in highlighting the multifaceted nature of this installation. The layout, architecture and structure of the rooms were carefully considered throughout the process of creating an immersive atmosphere, whilst reconnecting myself with my roots in Turkish culture.

Buse Kanlikilic, Order and Rhythm, wax dipped carnations suspended from ceiling, 200 gsm paper flower installation

Buse Kanlikilic, Broken Pattern, acrylic on wall, acrylic on 6’x6′ canvases

Photographs by Zak Milofsky

Buse Kanlikilic

Frances O’Dwyer – MFA Graduate, 2017

Frances O’Dwyer, MFA Installation Somewhere between in here and out there, 2017, Mixed media.
Dimensions variable

Paint is incorporated into a broader exploration of media to become part of an assemblage, with recurring motifs suggesting a dialogue between object, image and material. Everyday observations, encounters and literature can become a starting point for the work. Collected lo fi, ready to hand material and remnants are used alongside paint, collage, drawing and text…I don’t see the assemblages as being that much different from a collection of small poems…there is a formal language applied in the making, that is a mixture of considered and intuitive responses to the placement of material and their corresponding space.

Frances O’Dwyer, MFA Installation Somewhere between in here and out there, 2017, Mixed media. Dimensions variable

Somewhere between in here and out there responds to the studio spaces in the annex building and their relationship to the domestic environment. Exploring ideas of intimacy and space, the work conflates the public and private through assemblages of disparate ‘things’ to reveal both our playful and poignant relationship to objects, materials and space. The individual works retain a precarious physicality to reflect something of the nature of the material world and our connection to it.

Frances O’Dwyer, MFA Installation Somewhere between in here and out there, 2017, Mixed media. Dimensions variable

Frances O’Dwyer, MFA Installation Somewhere between in here and out there, 2017, Mixed media. Dimensions variable

Helen Richmond – MFA Graduate, 2017

Helen Richmond, Ag Gabháil, 10000 x 207cm, acrylic on canvas 2017

This work is based on my experience of accessing Irish mythology through English translations. A common theme in many of the stories is how things are taken or possessed. This has led me on a journey in to the indeterminate / liminal realm where the act of taking is in progress and the outcomes and consequences are still open ended. This zone can be experienced as a place of isolation, death and endings but if owned and inhabited is also the place from where all new knowledge and new life evolves.

Helen Richmond

Helen Richmond

Helen Richmond

Helen Richmond

Helen Richmond         Instagram   helen.richmond.artist

Matthew Mitchell – MFA Graduate,2017

Matthew Mitchell, Bhoireann Am (Burren Time), installation. Photographs by Zak Milofsky

The work here is an attempt to find a visual language for the duality between our necessarily abstracted experience of place and being in the new digital landscape, and our perception of place and being in relation to the more tangible primeval geological past. It is an attempt to use the visual lexicon of the past to articulate and chronicle our experience of the transient, often invisible now.

Matthew Mitchell, Transgression, mixed media on board, 122x102cm, 2017

This interplay of past and present place and time exists in the intermingling organic and inorganic forms on the canvas, in the physical act of making the work and in the perceived embodied experience of what is made. The processes used in the studio echo the naturally occurring processes of concealment and revelation in the physical act of erosion in the natural environment.

Matthew Mitchell, Quintessence, mixed media on board, 122x102cm, 2017

Organic material such as fine river clay taken from the Caher river bed is applied in layers, and then weathered over time. The act of construction in the layering and the deconstruction of etching and sanding and dissolving, and the transformational potential of the material, enables the observed materiality of the landscape to be embodied in the tactile surface of the piece.

Matthew Mitchell, After Ptolemy, mixed media on canvas, 68x55cm, 2017

At the same time, the use of the reflective qualities of enamel on textured coloured surfaces allows forms to appear and disappear, their visual reality in time shifting and impermanent. The inorganic materiality of the enamel and its translucence allows it to be part of the whole, but with a different separate narrative.

Matthew Mitchell, Immrama (The Navigations), mixed media on board, 122x102cm, 2017

Matthew Mitchell, Mare Incognitum, mixed media on canvas, 68x55cm, 2016

Matthew Mitchell, Marl Glyph, mixed media on canvas, 137x103cm, 2017