During the week, one of the days to be specific, I ditched scrolling through my Instagram feed and ventured out into the real art world.
A day to myself, for posterity I feel the need to mention that in the same week as the UN Climate Change Report gave the red light to humanity, I headed to Belfast on half a tank of diesel in the lashings of rain.
The only viable indication on the 90 minute trip that I had experienced partition was the change in denomination of the speed signs; that and my little pouch of sterling coins now sitting in the ashtray (always dusted off and brought out on occasions like these).
I chose Belfast because I knew two exhibitions I was very interested in were finishing up, the Ulster Society of Women Artists’ 64th Annual exhibition in the Crumb and Cathy Scullion’s, ‘As I Cannot Write’ exhibition at the Vault. Due to lockdown restrictions I hadn’t been able to visit the wonderful Ann and Ken of ArtisAnn Gallery in over a year, so they were on my list too!
The USWA’s 64th Annual Exhibition, Crumlin Road Gaol.
This year’s exhibition had a big, bright an airy home, not something you’d usually associate with a jail, but this is the redeveloped Crumlin Road Gaol complex. Passing the wooden stocks and heading up the stairs, the old black and white framed mugshots along the walls were in stark contrast to the world of watercolour nasturtiums and dramatic seascapes beyond the double doors of the the Lanyon Suite.
Stunning portraits, beautiful vistas, a three dimensional piece featuring a large cat astride its’ owner, curious cattle looking on; the variety of mediums and multitude of awards was impressive.
Helen Merrigan-Colfer’s mixed media sculpture, ‘Temple ii’ didn’t disappoint. I’ve been particularly drawn to Helen’s recent symbolic female figures and it’s only when you get up close and see the level of detail in areas like the temple interior that you fall into a deeper sense of appreciation of Helen’s work.
‘As I Cannot Write’, Cathy Scullion, Vault Studios, Tower Street.
This former college building is the perfect location for an artist collective complete with studios, exhibition space and theatre. Cathy’s exhibition, ‘As I Cannot Write’, is based on ritual and coded communication.
The title of the exhibition is taken from a sampler created in the 1800’s by a young working class girl, Elizabeth Parker. Through needlework, Elizabeth discovered a safe space to recount a traumatic experience.
Before lockdown Cathy applied for her Masters in Art Research Collaboration at IADT and gathered the necessary crochet materials. She invited female artists to send her letters recounting a time when they felt they could not speak. During lockdown she developed a technique of representing each word with a crochet stitch, walking back and forth, head bowed ritualistically, in a confined space with the yarn being pulled through ink over paper laid out on the floor.
The large sheets of paper with markings in the shape of triangular wedges are very reminiscent of dresses pinned up along the walls. There is also a set of images featuring her ink covered hands photographed after each session and a video playing on a loop showing the process. The video demonstrates the ritualistic nature of Cathy’s artistic process and I know she has plans to develop this into a live performance in the future which would be amazing to see.
It reminded me of a couple of pieces I made last year, I learned from my trip to Belfast that exploring the work of others can offer insight retrospectively as well as informing future work. I have some ritualistic style pieces in which the subject has her head bowed, because it felt right for the piece, but now I know I was using symbolic expression. The more I contemplate Cathy’s work the more I fall deeper and deeper into it.
‘As I Cannot Write’ exhibition by visual artist Cathy Scullion. Food by Anaka Women’s Collective. Photo credit: Julie Corcoran.
However, it wouldn’t be a day out with me without a serendipitous experience. It turns out the exhibition space also hosts a weekly food morning for a diverse group of women known as the Anaka Women’s Collective. The day I picked also coincided with the morning they each brought in a dish to share and I was offered delicious chicken and spiced rice with a fabulous yoghurt dip. It then led to some interesting discussion over cake about the context of the exhibition exploring examples of times when a woman may not be comfortable to speak, heads began to nod.
I will never forget that experience, or the sight of seeing those beautiful women with their kind smiles as they headed out the gates with their empty Tupperware, greeted by red brick terraces draped in the kind of bunting that only depicts one flag.
ArtisAnn Gallery, 70 Bloomfield Avenue
Ann says Hi beside my work as Ken looks very cool. Photo credit: Julie Corcoran.
ArtisAnn will always be special to me because they gave me my first opportunity and I have never forgotten that. It was lovely to be able to catch up and have a look at the new Neil Shawcross exhibition upstairs which runs until 28th August.
Ann suggested I pay a visit to the Golden Thread gallery. So I did.
Across and In-Between by Suzanne Lacy and The Bystander Effect by Alison Lowry at The Golden Thread Gallery, Great Patrick Street.
My sterling change remained untouched as I parked easily outside The Golden Thread gallery. To my great shame this was my first visit.
Across and In-Between by Suzanne Lacy at The Golden Thread Gallery. Photo credit: Julie Corcoran.
The Across and In-Between installation by Suzanne Lacy is expansive. The exhibition was originally created in collaboration with artists and communities in Ireland from both sides of the border, almost 100 years since the partition of Ireland. Keep an eye out for future showings, as the work is very thought provoking and constantly evolving.
Alison Lowry’s exhibition, ‘The Bystander Effect’ is the culmination of two year’s research into the role we, as society, play in allowing an ‘architecture of containment’, essentially the institutionalisation of women and children in nineteenth and twentieth century Ireland. Alison is a glass artist who lives and works in her studio, ‘Schoolhouse Glass’. If her piece, #onemillionbabyshoes, doesn’t move you, nothing will.
The Bystander Effect, #onemillionbabyshoes by Alison Lowry at The Golden Thread Gallery. Photo credit: Julie Corcoran. The exhibition runs until the 9th September 2021.
As you can see my day was filled with lots of thought provoking experiences that will resonate with me for some time to come. I implore you to get out an experience art in the real world once you’ve liked and shared this post all over your social media. Tell me about some great exhibitions you’ve visited.