Station Part 3 - Further Adventures In Interdisciplinarity - Station Part 2 - Station Part 1
Station 3
CETL at Queen's, Further Adventures In Interdisciplinarity.
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awaiting a decision or resolution;
an intermediate state or condition, a state of neglect or oblivion
a project created during an Adventure led by CETL(NI): The Centre for Excellence in the Creative and Performing Arts – one of Queen’s Centres for Excellence in Teaching and Learning.
created 5/6 March 2010 by students and ex-students of Queen’s and members of the Lyric Drama Studio
LEAD ARTISTS: Conan McIvor and Anna Newell
LIGHTING: Niall Rea
MAKERS:
Brenda Armendia Salgado
Joel Cathcart
Emma Cummings
Mary-Frances Doherty
Amanda Finch
Zuzana Klimova
Regan O’Brien
El Porter McCullough
Adrienne Reilly
Stevie Rice
Jessica Samoy
PERFORMERS:
Katy Campalani
Hannah Coyle
Louise Doran
Lara Dowds
Nadine Gorman
Aisling Groves McKeown
Marie Claire Kearney
Kathryn McCartin
Hayley McCrea
Hannah McClean
David Monahan
Karen Morgan
John Shayegh
Shauna Shivers
With many thanks to Platform Arts and to the artists whose installations were folded into the piece.
Station Part 2
Temporary photos of show. Full documentation to follow.
Ruaidhri Lennon
Ruaidhri Lennon
Alissa Kleist
Alissa Kleist
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Mairead Dunne
Mairead Dunne
‘Station’
A presentation of installation and performance by:
Alice Clark
Laura O’Connor
Lynn Cromie
Nadine Stewart
Niamh O’Beirne
‘Station’ is an experimental curatorial project organised by Platform Arts. The premise of the project is to invite artists to come and make work in or in response to the building.
This is the first in a series of residency based presentations. The work is the result of a three week residency in the old Police Station on Queen Street, Belfast.
This residency was run in conjunction with the University of Ulster, MFA Department.
The presentations will take place on Thursday 4th Feb. 2010 from 6pm to 9pm.
For further information please contact platformarts@live.co.uk
Alice Clark
The practice involves installation and drawing and revolves around a daily pattern of travel in the city. The journey recorded is by bike and the documentation of the journey is through mapping, drawing and collecting of mislaid items by the roadside. It is an investigation with spatial and temporal parameters.
The piece in the Police Station utilises materials found in situ. A fallen ceiling becomes a new floor. The material, the dust, has the potential to be drawn into or to be used as a drawing medium. The bike has been brought indoors and become the drawing tool. The ceiling dust is evidence and the marks made in it and with it are traces of that evidence.
Laura O’Connor
‘TO MAMMY’
For this piece I am combining my memories of police stations with the overwhelming atmosphere of this building. As a child I spent time some time in the local Garda (police) station where my father worked as an officer and as a distraction I used the old typewriter to compose letters to my mother. For this piece I have recored myself continuously typing the words ‘to mammy’ in an attempt to recreate the action from my memory.
This building holds a lot of history and it is extremely noticeable with the overwhelming feeling one gets on entering. I am using my own personal history and experience of a much smaller but similar building to create this piece and I hope that the work will begin to create it’s own new meanings as people experience it and the building transforms it.
Lynn Cromie
I desire to explore methods that create drawings to outgrow the limits of two dimensional; processes of growth that, even though they surround us everywhere in the form of vegetative life, we still fail to understand – mostly because we have not sensed how strange, even alien, this infinitely silent and slow, yet utterly uncompromising growth is to which plants dedicate their existence.
It is this sensitivity for the explicitly alien nature of the principle of vegetative growth I try to create my work through; it is fundamental to my use of form and structure as a basic material that is made to outgrow itself through its staging in the space and transcend that same space. The immanent principle of growth thereby becomes the material core of an atmosphere – creating ethereal work around which many associative discourses and dreams of equality utopian and intimidating forms of wild growth can flower.
Nadine Stewart
Drawing in space is an important aspect in my practice. I explore ways of translating actions and movements that can be materialised to interact with different spaces. The short term residency in the station has been a valuble experience, allowing me create an artwork in an unusual space that has so much history.
I chose to work with two rooms on the second floor which hold only memories and traces of actions, and I used the contents of these rooms to create an installation. The carpets hold traces from the happenings within those spaces, and I am using these to symbolise the past life of the room.
Niamh O’Beirne
My work is a commentary on the relatively recent move toward the utilisation of malfunctioning spaces to realising artistic projects or exhibitions. These spaces therefore are establishing an economy parallel to that of the gallery system. The triangulated collaboration between the three primary stakeholders in the production of artwork i.e. the artist, curator and viewer is an interest that shapes my practice.
An image is projected onto the wall of a room. The viewer sees themselves reflected in the work upon entering the space. Placing the viewer at a mid-point between a created temporary environment and the permanence of the original space. I am interested in this distance.
CETL at Queen's, Further Adventures In Interdisciplinarity.
awaiting a decision or resolution;
an intermediate state or condition, a state of neglect or oblivion
a project created during an Adventure led by CETL(NI): The Centre for Excellence in the Creative and Performing Arts – one of Queen’s Centres for Excellence in Teaching and Learning.
created 5/6 March 2010 by students and ex-students of Queen’s and members of the Lyric Drama Studio
LEAD ARTISTS: Conan McIvor and Anna Newell
LIGHTING: Niall Rea
MAKERS:
Brenda Armendia Salgado
Joel Cathcart
Emma Cummings
Mary-Frances Doherty
Amanda Finch
Zuzana Klimova
Regan O’Brien
El Porter McCullough
Adrienne Reilly
Stevie Rice
Jessica Samoy
PERFORMERS:
Katy Campalani
Hannah Coyle
Louise Doran
Lara Dowds
Nadine Gorman
Aisling Groves McKeown
Marie Claire Kearney
Kathryn McCartin
Hayley McCrea
Hannah McClean
David Monahan
Karen Morgan
John Shayegh
Shauna Shivers
With many thanks to Platform Arts and to the artists whose installations were folded into the piece.
Station Part 2
Temporary photos of show. Full documentation to follow.
Ruaidhri Lennon
Ruaidhri Lennon
Alissa Kleist
Alissa Kleist
Mairead Dunne
Mairead Dunne
‘Station’
A presentation of installation and performance by:
Alice Clark
Laura O’Connor
Lynn Cromie
Nadine Stewart
Niamh O’Beirne
‘Station’ is an experimental curatorial project organised by Platform Arts. The premise of the project is to invite artists to come and make work in or in response to the building.
This is the first in a series of residency based presentations. The work is the result of a three week residency in the old Police Station on Queen Street, Belfast.
This residency was run in conjunction with the University of Ulster, MFA Department.
The presentations will take place on Thursday 4th Feb. 2010 from 6pm to 9pm.
For further information please contact platformarts@live.co.uk
Alice Clark
The practice involves installation and drawing and revolves around a daily pattern of travel in the city. The journey recorded is by bike and the documentation of the journey is through mapping, drawing and collecting of mislaid items by the roadside. It is an investigation with spatial and temporal parameters.
The piece in the Police Station utilises materials found in situ. A fallen ceiling becomes a new floor. The material, the dust, has the potential to be drawn into or to be used as a drawing medium. The bike has been brought indoors and become the drawing tool. The ceiling dust is evidence and the marks made in it and with it are traces of that evidence.
Laura O’Connor
‘TO MAMMY’
For this piece I am combining my memories of police stations with the overwhelming atmosphere of this building. As a child I spent time some time in the local Garda (police) station where my father worked as an officer and as a distraction I used the old typewriter to compose letters to my mother. For this piece I have recored myself continuously typing the words ‘to mammy’ in an attempt to recreate the action from my memory.
This building holds a lot of history and it is extremely noticeable with the overwhelming feeling one gets on entering. I am using my own personal history and experience of a much smaller but similar building to create this piece and I hope that the work will begin to create it’s own new meanings as people experience it and the building transforms it.
Lynn Cromie
I desire to explore methods that create drawings to outgrow the limits of two dimensional; processes of growth that, even though they surround us everywhere in the form of vegetative life, we still fail to understand – mostly because we have not sensed how strange, even alien, this infinitely silent and slow, yet utterly uncompromising growth is to which plants dedicate their existence.
It is this sensitivity for the explicitly alien nature of the principle of vegetative growth I try to create my work through; it is fundamental to my use of form and structure as a basic material that is made to outgrow itself through its staging in the space and transcend that same space. The immanent principle of growth thereby becomes the material core of an atmosphere – creating ethereal work around which many associative discourses and dreams of equality utopian and intimidating forms of wild growth can flower.
Nadine Stewart
Drawing in space is an important aspect in my practice. I explore ways of translating actions and movements that can be materialised to interact with different spaces. The short term residency in the station has been a valuble experience, allowing me create an artwork in an unusual space that has so much history.
I chose to work with two rooms on the second floor which hold only memories and traces of actions, and I used the contents of these rooms to create an installation. The carpets hold traces from the happenings within those spaces, and I am using these to symbolise the past life of the room.
Niamh O’Beirne
My work is a commentary on the relatively recent move toward the utilisation of malfunctioning spaces to realising artistic projects or exhibitions. These spaces therefore are establishing an economy parallel to that of the gallery system. The triangulated collaboration between the three primary stakeholders in the production of artwork i.e. the artist, curator and viewer is an interest that shapes my practice.
An image is projected onto the wall of a room. The viewer sees themselves reflected in the work upon entering the space. Placing the viewer at a mid-point between a created temporary environment and the permanence of the original space. I am interested in this distance.