Tuesday, 20 April 2010

Sunday, 11 April 2010

Juliane Sota

Lisa Neubauer



Exchange Dublin
Exchange Street Upper
Temple Bar, Dublin 2.




Phone: 01-6779264

Uli Blanchet

Uli Blanchet is a London based German art PhD candidate & freelance film journalist. Currently he does his PhD about consumerism in the work of Banksy and Damien Hirst. His first book "Something to s(pr)ay. Der Street Artivist Banksy" will soon be published by Tectum Verlag (in German).
At Exchange Uli shows a collage combined with a short story about the life of a dead London barber who went to Las Vegas in 1980.


list of Ulis interviews with actors like Philip Seymour Hoffman and directors like Gus van Sant, Chabrol or Stephen Frears (in German)

Ulis Videos on youtube: http://www.youtube.com/uliblanchet

Anthony Sands

Sean Carver

He comes from Cork and good Lord only knows where he’s heading. What really matters is that on his way he produces a great deal of darn good art. Sean Carver has a creative force to be reckoned with.

His work is technically paintings but it does go way beyond the paint & canvas sort of craft. Most of his pieces are built up over months and years in a process of reinventing and reinterpreting their initial form and meaning. I have happened to photograph some of his paintings thinking of them as elaborately finished artwork only to have Sean bringing them back in a couple of months for a reshoot – one would have an extra sketch subtly enriching the background, others would be changed beyond recognition, some of once independent pieces puzzled together to form an entirely new entity. As Sean puts it, it’s about “working in layers until I hit on something that sits right with me. Each piece is developed through the process of notebook, photographs, media experimentation and paint”.

Eva Blanché

In her works Eva Blanché mainly deals with kitsch, stereotypes and irony - and her marked preference for fancy stuff as well as for pattern and wallpapers.
Eva Blanché's pieces are always related to her very personal surrounding - her world through her eyes.
Often she's interested in showing special relationships between the depicted objects - just like "concert shoes" : these girly-pink shoes and a t-shirt with those background-stripes is always part of her dress for visiting indie concerts!
The viewer (without knowing this) is -inspired by the title- sensing a intimate significance of the shoes to the paintress, and sees -considered superficially- former lovely sweetpink shoes in a scruffy condition, seemingly careless dropped.. But in this painting is a futher level..this special pair means not only shoes: it's in some way cuddling up - and as well the upper one is dominant - but both are (ab)used.. what happend ? - The viewer of Eva Blanché's paintings is always invitated to think further, or maybe to cook up a story behind..

Exhibiting just this painting in Dublin is linked to a there based band named well-fitting "The Frames": the paintress fancy experiencing their live show - needless to say with her concert shoes..


Sarah Core

My practice is dominated by material and object, by the manifestation of idea through that material and my personal response to the experience of making that object. I am interested in the notion of perfection and much of my work refers back to the human body in its ‘perfect variety’.

Oyster shells represent a form of perfection that is borne of nature and hence to even attempt duplication requires an act of power on the part of the maker. I hope to reflect the isolation that is the consequence of the discipline required to achieve what is ultimately an unreality.

Christine Hewitt

In my practice as an artist, I am interested with truth and the ability to capture a holistic view of a moment in time, in which space captures time. I wish to understand art as a means of reaching past the everyday, past something of this world.

I will be looking at the function of art in today’s world in being something that extends of knowledge and understanding of existence. I would like to challenge the notion of God‐made objects that bring about this revelation and contrast the manmade objects (art). We want to know to understand what we see around us, I would like to create work that requires relearning what we perceive. Perpetual exercises formed by the capture and the denial of space and light.

As this will be a moving exhibition, I will make the same work specific to the country. I will be abstracting a negative space from an unnoticed element of the local natural landscape and juxtaposing it against itself in the opposite direction. My work will aim to challenge the ability to capture the 3-d existence of this world in a photographic image and then project it into the 3-d in a different way.

Mark Ferrill

Recently my work has involved finding materials that are found from construction sites such as scaffolding poles and then manipulating through rusting, cutting, and bending. The work seems to grapple against the ideology of modernist architecture which notions include working in a logical way and ending with a finished polished product. The pieces seem to ask, what happens in-between this logical procedure where some form of expression from the worker needs to exist. They show the making of the hand. Other pieces involve series of hybrids being cobbled together in which they may begin seemingly close to a product but as one follows their progression they become more and more hand interfered with, until they are completely hand made. They may reference in shape a product but simultaneously construct other narratives within them. Such work progresses from previous work such as ‘By-products of Perfection’ (Fig 1.). When attempting to make a perfect product what often is of more interest is the waste material that bares the expression of the hand.

Michelle Bourke-Girgis

Coming from Egyptian/Irish parentage I was born and raised in Dublin. I am twenty three.
I would consider myself a multi-disciplinary artist, with a whollistic approach. I enjoy to practise in a wide range of media including many kinds of mark-making and sculptural materials, the written word, the voice and body in live performance and increrasingly moving image and photography.

Here is a brief description of my current conceptual concerns

My work at present is considering a balance between preservation and transformation, with memory as a side-product that can be called upon or discarded.

Using transformation as a tool, shifting elements to create the appearance of something arising from a supposed nothing I would like to demonstrate that fundamental or intrinsic quality is never touched, yet always constant and dynamic.

Sydney Southam

My practice involves working with the archive in the form of home movies shot on 16mm. I use this found footage featuring my own family and collage together images to instill a new meaning in them. The footage I work with is documentation of a part of my history, and yet this is a history that I was not present for. By reordering and re-editing the footage, I am instilling a new meaning into these images that is related to, but different from, the intent of the original camera person.

The footage serves as a very thorough document of specific times and places in my family’s history. The films I make from the footage also serves as a document; however it is a document of my own reaction to and reinterpretation of this footage. After watching and re-watching the hours and hours of this archive, I create my own sort of emotional archive, and archive of my understanding of these histories.

Some of the works are a reaction or response to past trauma that occurred within my family. One more recent work is about the nature of the family film, and how people decades ago would react very differently in front of a camera than people would today. The characters in these films are performing and acting for the camera, yet the films are a document of life in a way that a narrative film in the traditional sense is not. I am interested in the tension between the documentary and performative natures of the films.

The works I am making now are film based, but I also plan to move in to more painting and photography work as well as an attempt to insert myself and my hand even further into the works.

Teresa Nunes

At this moment my practice bounces between the research on ontology of gardens and the remains of the practice itself. Looking at the essence of the garden in terms of: what is a garden? And specifically into the research of Italian philosopher Rosario Assunto which led me to Dante Alighieri’s Divine Comedy. My practice explores some of its conceptual archetypes expressed in terms of ‘remains’ preserved and experimented on: memories, clothes, movements. The main medium of practice is installation with mixed media and video/sound.

Hélène Butler

I work mostly with moving images, from experimental to more narrative films. I am currently investing the relations between people in urban context, the behaviour of crowds in relation to individuals...
I like using video and images as a material and montage as a tool. Create sense through a succession of frames and sounds, create a visual rhythm.
Going to different European cities to screen some of my videos and then see what is the public reaction regarding the towns is something really appealing to me.


Alix Marie

My art can be found where film, photography and sculpture meet. With a certain taste for the hybrid or the unusual I like to integrate my imaginary world in everyday life.
I believe that art is for everybody to understand and enjoy and try to make the audience participate in my pieces of work. Most of my work is about women and their sexuality. Myths and tales can also be seen as a recurrent inspiration. I like to experiment with different techniques within my three favorite medias. In that way, my final outcome could be ceramics, a 16 mm film or digital photography for example. I enjoy working on my own as much as working collaboratively.
I have worked before as a professional photographer and I organized and curated an art exhibition in London. I am currently studying a BA fine art at Central Saint Martins.