Songs From The Leeward Slope
Culchie boy, I love you / Grá mo chroí thú, mo chábóigín féin
Fabric, woven rushes, beads, corn flour, wire, vegetable oil, glue, bells, paint, glitter, varnish, nail polish knitted wool, hand woven fabric, thread, string, silicone, glazed stoneware ceramic, crochet wool, jesmonite, bells, digital print, reflective material from Sara, hessian, spray paint, plaster, synthetic hair from Alice, scarves from Geraldine, gold leaf, silver leaf, carved wood, clay, sand, bisque fired whistle, found wooden stool.
2024
2024
Originally commissioned by Project in 2023 ‘Culchie boy, I love you / Grá mo chroí thú, mo chábóigín féin’ is an exhibition from Kian Benson Bailes comprising sculpture, digital & material collage, musical instruments, ceramics, textiles, woodwork, and live sculptural sound elements. Culchie boy, I love you / Grá mo chroí thú, mo chábóigín féin references Irish folklore, mythology, and craft traditions in an exuberant expression of rural queer experience.
This iteration, Songs From the Leeward Slope, is accompanied by a newly commissioned text by Matt Packer with design by Alex Synge.
With huge thanks to Una McCarthy, Siobhan O’Reilly and Sara Greavu
Also thanks to The Arts Council of Ireland, and Fire Station Artists’ Studios.
This iteration, Songs From the Leeward Slope, is accompanied by a newly commissioned text by Matt Packer with design by Alex Synge.
With huge thanks to Una McCarthy, Siobhan O’Reilly and Sara Greavu
Also thanks to The Arts Council of Ireland, and Fire Station Artists’ Studios.
Invited Guests
Kian Benson Bailes | Orla McHardy | Anna Spearman
The Dock is delighted to present Invited Guests by Kian Benson Bailes, Orla McHardy and Anna Spearman. Join us with the artists for the opening reception on Friday 18 October, 6—8pm.
Selected through The Dock's open call for local artists, the artists shared: "Working from a feeling of hospitality and dream logic — we’re working towards creating a space in which our sculptures are hanging out together and having a really nice time.
The title of our show, Invited Guests, is inspired by Phyllida Barlow’s site-specific works Objects for… — a series of temporary sculptural interventions in domestic spaces. Calling them “uninvited guests,” she challenged where art goes, who gets to make it, and who can access it.
We enjoy making work alongside each other, sharing material processes and conceptual ideas. We often think about how our works could sit in a space with each other. These conversations and questions, in a very easy way, help us to clarify what we’re up to, as well as to imagine new possibilities for our work collectively. Open-ended material play is at the heart of our process — to the point where, at moments, authorship is blurred."
Selected through The Dock's open call for local artists, the artists shared: "Working from a feeling of hospitality and dream logic — we’re working towards creating a space in which our sculptures are hanging out together and having a really nice time.
The title of our show, Invited Guests, is inspired by Phyllida Barlow’s site-specific works Objects for… — a series of temporary sculptural interventions in domestic spaces. Calling them “uninvited guests,” she challenged where art goes, who gets to make it, and who can access it.
We enjoy making work alongside each other, sharing material processes and conceptual ideas. We often think about how our works could sit in a space with each other. These conversations and questions, in a very easy way, help us to clarify what we’re up to, as well as to imagine new possibilities for our work collectively. Open-ended material play is at the heart of our process — to the point where, at moments, authorship is blurred."
Self Actualiser
Culchie boy, I love you / Grá mo chroí thú, mo chábóigín féin
Fabric, woven rushes, beads, corn flour, wire, vegetable oil, glue, bells, paint, glitter, varnish, nail polish knitted wool, hand woven fabric, thread, string, silicone, ceramic, crochet wool, jesmonite, bells, HP laptop, digital print, reflective material from Sara, iphone, hessian, spray paint, plaster, synthetic hair from Alice, baked soda bread from Geraldine, scarves from Geraldine, AKG headphones, gold leaf, silver leaf, carved wood, nanny’s mixing bowl, 10mg Citalopran Teva, dried hydrangeas, clay
2024
2024
Originally commissioned by Project in 2023 ‘Culchie boy, I love you / Grá mo chroí thú, mo chábóigín féin’ which runs from July 13th to August 31st in the Regional Cultural Centre, Letterkenny
This iteration, Self-Actualiser, is accompanied by a newly commissioned text by Emily Cooper with design by Alex Synge.
With huge thanks to Sara Greavu, Jeremy Fitz Howard, Rachel Botha and Cathal McGinley.
Also thanks to The Arts Council of Ireland, Dublin City Council, Fire Station Artists’ Studios and Earagail Arts Festival.
This iteration, Self-Actualiser, is accompanied by a newly commissioned text by Emily Cooper with design by Alex Synge.
With huge thanks to Sara Greavu, Jeremy Fitz Howard, Rachel Botha and Cathal McGinley.
Also thanks to The Arts Council of Ireland, Dublin City Council, Fire Station Artists’ Studios and Earagail Arts Festival.
Untitled
Fabric, woven rushes, beads, corn flour, wire, vegetable oil, glue, bells, paint, glitter, varnish, knitted wool, hand woven fabric, thread, string, jesmonite, silicone
2024
2024
Draft sculpture for installation ‘Self actualiser’ 2024
Cailleach boy i & Cailleach boy ii
Fabric, clay, nannys headscarves, steel, wire, plastic wrap, bells, insect repellent netting, carved wood, false eyelashes, sticks, crochet wool, woven fabric, thread, sticks
Images courtesy of EVA International
2023
Images courtesy of EVA International
2023
Sculptural works that referenced Irish mythological figures, religious iconography and rural queer experience, which were situated within the congregational spaces of St. Mary’s Cathedral.
The Gleaners Society
Curated by Sebastian Cichocki, the Guest Programme of the 40th EVA International took its thematic basis on the idea and practice of gleaning – a term that traditionally refers to the act of collecting leftover crops following a harvest. The Gleaners Society extended this reference in a multiple of ways, alternately serving as an artistic subject, a political metaphor, and a curatorial methodology to explore and propose art’s relationship to society. Featuring over 45 presentations by Irish and international artists and collectives, The Gleaners Society unfolded across a set of uniquely diverse venues in Limerick city (civic arts institutions, a primary school, a Cathedral, and a vegetarian cafe, among others).
The Gleaners Society
Curated by Sebastian Cichocki, the Guest Programme of the 40th EVA International took its thematic basis on the idea and practice of gleaning – a term that traditionally refers to the act of collecting leftover crops following a harvest. The Gleaners Society extended this reference in a multiple of ways, alternately serving as an artistic subject, a political metaphor, and a curatorial methodology to explore and propose art’s relationship to society. Featuring over 45 presentations by Irish and international artists and collectives, The Gleaners Society unfolded across a set of uniquely diverse venues in Limerick city (civic arts institutions, a primary school, a Cathedral, and a vegetarian cafe, among others).
