The art can be seen on Friday 25th October from  7 – 9 pm

Saturday 26th October from 12 – 8 pm

Sunday 27th October from 12 – 8 pm

934140_427977430632265_19093231_nNatalia Beylis The Sunken Hum Station

Gates creaking, cats meowing, rain playing rhythms on a tin roof: these are the sounds that make up The Sunken Hum. Centered around the wildes of Leitrim in the the northwest of Ireland, The Sunken Hum is a collection of daily field recordings and soundscapes captured by Natalia Beylis in 365 parts. Everyday in 2013, Natalia records a two minute audio clip from her life and posts it up online. The Sunken Hum Station will feature sounds taken from the project.

Natalia has a deep fascination with how people spend their ordinary days – the fragments that make up person and the role that sound plays in this – and with

The Sunken Hum, she is exploring the often overlooked constant background hum that filters through her life.

alandoyleAlan Doyle

“Doyle’s work deals mostly with the themes of alienation and anxiety. The troubled and immobile charters in his images reflect the selfless, faceless and lost characters we see day to day on the streets of any city or floating through the subconscious. Doyle’s images also serve as a form of therapy, the repeated patterns and lines or the flow of words act as a mantra laid down in ink. Doyle has had no formal training in art. He lives and works in Dublin, Ireland.” – from the Henry Boxer Gallery, London.

cormacolearyCormac O’Leary                                         The Halloween Mummers Series

My work is based on my immediate environment as well as incorporating images from memory and the imagination. I am influenced by literature and music, as well as folklore and mythology. I like my work to have a layered textural history. Images are rescued from glimpsed moments, fading scenes, or compositions conjured from a fusion of all these elements. I try to capture a sense of mystery, a lyrical tinge to the everyday.
cianoneillCian O’Neill

The aim of these works on paper [in pencil, pen and inks] is to break down the elements of human anatomy and botany which I use in my oil paintings and to thereby allow the works to generate new ideas and forms. It is less a change of direction than a parallel practice to my painting. As well as botany and anatomy, architectural form and electron-microscopic images of animal and vegetal matter at high and very high [i.e. cellular] magnification have been used which trigger critical, representational impulses transferred to the page. Microscopic imagery has a visual artificiality that matches the artificial light with which I spotlight the various elements in the pieces, making the frontal seem recessed and the recessed seem frontal. In sum: there is a displacement inherent to the works which situates them inbetween states, inbetween definitions.


Katie O’Neill Found Objects

The subject of this series is objects from nature, fossils, stones, bugs, rocks, water formations. I am drawn to these objects because I enjoy drawing their strange and weird patterns and like to think about their history in the world, hidden from mankind.

Katie O’Neill is 23 and from Dublin, Ireland. She likes to take photographs, draw, print, make music.

gavinporterGavin Porter

”Seeking patterns and order in forms and events present in our lives is an interesting and challenging endeavour. scientists such as Edward Lorenz or Benoit Mandlebrot investigated these matters developing ideas of the Butterfly Effect, Chaos Theory and Fractal Geometry. We find these Themes in the work of Gavin Porter. Forms depicted by Gavin have a clear recurrent structure, but they seem to have no start and no end. They are in a continuous process of development as though they were never to complete their forming. We can observe the same process in our everyday lives. Filled with repetitive tasks that have to be performed as part of our daily routines and efforts of which results can rarely be predicted, our existence is built of patterns but is built on uncertainty.” Marta Slawinska

ciaranogarnoldCiaran Og Arnold No Day, Or Night

This work is a subjective documentation of life in an Irish midlands town. The particulars of the town are unimportant, the work attempts to convey an emotional response to the lives those who exist on the fringes, in the darkness, those who were left behind. The work is not necessarily social or political but rather existential in nature. Working Method 35mm black and white.

I live and work in Ballinasloe Ireland. I like to take photographs in my home town of Ballinasloe. Its a fairly nondescript small Irish town. I’ve left many times but am always drawn back, there seems to be something there, underneath it all. Some deeper narrative binding everything. I guess it’s formed by the knowledge of the stories, the histories, knowing what happened. These ideas or this awareness seems to shape how I view the town. A house has its own life due to knowing its terrible history, the streets and alleys the same. The people I photograph usually exist on the fringes or in the background, unemployed, drifters or someone whom life has left behind. They seem to me like characters in some repeating play. Living here feels like that and I try to capture that in my photographs.

mcloughlinphelanMichael McLoughlin and Marie Phelan

Forest 1: I dreamed of Forests – 10mins

Forest 3: I knew what it was but couldn’t stop running – 9mins

McloughlinPhelan work in a diverse range of media and together they have explored ways their individual approaches can complement and challenge each others. Forest 1: I dreamed of Forests and Forest 3: I knew what it was but couldn’t stop running are part of a larger body of work created by McLoughlinPhelan exploring concepts of travel and relationships with space. Of desire to explore and the need to be somewhere else. Of conflicts, sometimes very intrusive, other times more welcome. Overall they present a new interpretation of a constant struggle between the nature of travel and nature itself.

McLoughlinPhelan (artists Michael McLoughlin and Marie Phelan) have been collaborating on predominantly audio and lens based work since 2011. The presented their first live work in the Backloft, Dublin that year. In 2012 they released a CD of audiowork ..but time does not stand still.. in Oonagh Young Gallery Dublin. This year they are presenting new film work in Faber Studios Limerick as part of call it what you will.
roisinmcnameeRoisin McNamee Bass Tickle, Boiled Bog

McNamee’s mixed media art practice is influenced by processes of craft, by diy culture, science, psycho-geometry and the sea.
Once described as quasi-scientific ensembles, at times the work resembles experiments in some future post-apocalyptic era, where the knowledge of their original creation has been long since lost. And so now, passed down orally through generations they have become instead hand-crafted ritual objects for meditating on existence, while still retaining a trace memory, a backward grasp for a lost knowledge, albeit with humbler tools.

Roisin McNamee lives and works in Dublin. She graduated with MA

Art in the Digital World, NCAD in 2011. She received BA (Hons) in Fine Art,

University of Ulster, Belfast, 2006. She is a founding member of Satellite Studios, Dublin (2011). Solo exhibitions: 2012 ‘Lenticularis’ The Joinery, Rosemount Terrace, Dublin 7.Group exhibitions: 2013 ‘Hack the Oceans’, with Sebastian Mellaeuer & Hacklab. ‘Coracle Oracle’,  Phizzfest @ Satellite Project Space.

stephenrennicksStephen Rennicks
A Guide To Here Nor There

A Guide to Here Nor There is a speculative fictional guide to County Leitrim. It entails the creation of a tour that aims to mix the everyday with the fantastical as perhaps a way to navigate reality, finding poetic truths along the way. Fiction can make the real more poignant, be predictive of the future and there is no objective reality anyway.
This project was initiated by Isabel Löfgren in collaboration with Stephen Rennicks.

My work has often ultimately been about bringing people into the moment. In doing this I have so far explored the everyday, time and myth. I am interested in finding ways for the viewer to uniquely complete the work for themselves. I am also interested in art in public spaces and some of my work continues to subtly exist there without permission. I have used everyday materials as part of an aesthetic that aims to demystify the medium for the viewer in the hope of getting more quickly past the how and onto the why.
Stephen Rennicks is an artist based in Co. Leitrim. I have shown my work as installation, video, in book form and online.

samsalemSam Salem neamhroinnte

Over the summer, I fell in love with a forest (coniferous, don’t judge). In the stillness, the smallest movements and moments became amplified and mysterious. As a composer, my work is ordinarily based upon field-recordings made of cities: I collage fragments. Here instead I work with undivided passages of time. I’ll therefore call the piece neamhroinnte.

Sam Salem (b. 1982) is an composer who currently resides in Manchester (UK). His work is focused upon the sounds of urban environments: each of his pieces focuses upon a specific geographical location. His music aspires to illuminate and explore the hidden musicality and beauty of his geographical subjects, as well as his own relationship to his environment as both a source of inspiration and musical material.


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