Caitlin-mcc03 - Caitlin MccARThy
More Posts from Caitlin-mcc03 and Others
B. Ingrid Olson
This installation intermixes two series, Dura Pictures and Indexes. Each work in the Dura Pictures series presents one photographic image physically embedded within another, what the artist describes as placing a “moment in time within a different moment in time, just like memory does of the past in the present.”
Coming in with your back turned, 2021–2022, Inkjet print and UV-printed mat board in powder-coated aluminium frame, 29 × 19 1/4 × 1 1/4 in. (73.7 × 48.9 × 3.2 cm)
Completed Movement (Between Abut And Rub Between Two Notes The Number Between One And Two Divided Into Qualities And Kinds), 2016-2022 inkjet print and UV printed mat board in powder- coated aluminium frame, 96.5 x 45.72 x 3.2 cm 38 x 18 x 1.25 in
𝘕𝘦𝘷𝘦𝘳 𝘰𝘥𝘥 𝘰𝘳 𝘦𝘷𝘦𝘯 (𝘱𝘦𝘳𝘩𝘢𝘱𝘴 𝘵𝘩𝘦 𝘣𝘰𝘯𝘦 𝘐 𝘵𝘩𝘪𝘯𝘬 𝘐 𝘢𝘮 𝘣𝘪𝘵𝘪𝘯𝘨 𝘪𝘴 𝘮𝘺 𝘰𝘸𝘯 𝘵𝘢𝘪𝘭), 2013-2020 Inkjet print and UV printed matboard in aluminum frame 14.5 x 12.5 in or 12.5 x 14.5 in (36.8 x 31.75 cm or 31.75 x 36.8 cm)
Leticia Lampert - (de) construction
(de) construction
The city grows spontaneously. Disordered. Up and down, wherever there is space. Every style is mixed together. There is no development plan for the cities in Brazil, so they become a huge architectonic collage. It is after this perception of the city that this work was created. As a play, collages are made from disconnected pieces of houses and buildings in order to create other ones. These new buildings are strange but, even though, they seem very familiar, once it is like that our perception works. The series consists of 19 collages
(de)constructions #4, Photography and collage, 82 x 130 cm.
(de)constructions #17, Photography and collage, 67 x 100 cm.
thoughts on memory
louise bourgeois / aftersun (2022) / joan didion / phoebe bridgers / carmen maria machado / st vincent / lisa ko
Rochestown Road in Rochestown, Co Cork.
The estate was originally designed by BOC Architects and built in 2008. The four homes are currently on the market for €1.24 million, 16 years after they were originally meant to be sold.
The properties have no internal work completed at all. This means, once you go inside, they are nothing more than the skeleton of the house. There are no electrical fittings, no running water and all windows are completely bordered up - some with wooden boards, others with metal.
Katie Prock
While Katie explores photography in a variety of mediums, her work captures the essence of intimacy and memory. She often uses found imagery that she manipulates through cutting, sewing, and creating objects. Her series Yesterday We Were Girls explores the way images can represent the ways we change, and stay the same, over time.
EK: What relationship does memory or intimacy play within your practice, and does photography become a way to navigate these complex topics? KP: The photographs in this series are all filtered through memory. Either they are from the past and hold actual memory or they are my own interpretation of those past events. I have a strong memory and in some ways that’s really useful. However, I think that having a strong memory means it’s easy for me to get stuck in the past, especially the painful parts. With this work I tried to remember but not get stuck. I rewrote and reinterpreted painful memories from a new and healthier perspective. Through image making and writing, I’ve honored my history, both pleasant and painful, and imagined a future that isn’t dictated by my past.
traditions, expectations and other circular things
Pim Palsgraaf
Pim Palsgraaf, Reflections of Emptiness 07, Wood, stained wallpaper, metal, 190 x 50 x 145 cm, 2021. Pim Palsgraaf is inspired by decay and irregularities in the city. The discord between nature and urbanity are relevant topics and perspectives in meta-modernistic thinking. Palsgraaf’s work is a result of an ever-deepening investigation into the erosion of the inner city. Empty spaces – old corridors and ceilings that are about to collapse and where nature is stepping in to take over – nourish his fascination for this process. In his work Palsgraaf focuses on the lines of perspective from which we build the world around us. For a while, Palsgraaf worked within the existing systems of how to draw the world around us, but a few years ago he decided, rather, to investigate the fundamentals of the world around us. The fundamentals, according to Palsgraaf, are in how people construct the world around them. This often leads to dualisms in society. Nihilism and consumerism, irony and naive informality live side by side and simultaneously. Palsgraaf decided to investigate his own perception and spent five days in a completely enclosed dark room, without time or noise. It soon became clear to Palsgraaf that time is only a concept, perception a construction of the mind. He decided to continue with these discoveries and to investigate how he could interweave these findings and translate them into his work. His aim is to convey his experiences of time and perception and to bring the viewer into a moment of silence and total doubt, in which all the hold of the world is completely gone.
Pim Palsgraaf, Burn your bridges 13, Wood, stained wallpaper, carton, 40 x 50cm, 2021.
Pim Palsgraaf, Traces of existence, Wood, stained wallpaper, metal, 320 x 180 x 210 cm, 2017.
Romana Ruban - JONAS
Jonas or The artist at work is written by Albert Camus. Plot of this story is about impossible, the desire to create, searching himself in painting, problems in relationships and sacrificing himself to his family and creations. It`s all about tragedy of artist`s life. I had faced with objective to include hand-printed illustrations with some transformation and performance of page`s ply. I hope that I made it as well as I planned. All illustrations are made in etсhing and aquatint - strong and simple graphic technique, that’s why reader will not go under unnecessary imposed associations and details. Characters was depicted with linear emotional drawing, it`s contrasted with text about false coloured life of painter. Bookcover is covered with blank white canvas, it`s describes last significant painting of Jonas. Main illustration is in the middle of the book block. It is façade of windows. Different moments of artist`s life are arranged in every window. Reader can put book and transform illustration like a yard. Then viewer can pry for artist like unfriendly neighbors. Reader can observe all happiness and misery of artist`s family. This is studying project includes illustrations, page-proofs and book binding.
Ana Vieira
Ana Vieira’s work is deeply concerned with the body, space, and the ways in which art is sanctified and received. Her artistic career spans multiple disciplines, including theatre, painting, sculpture, photography, sound, environment, and installation. This breadth reflects her poetic approach to art, which continually explores the boundaries of different media.
Her exhibitions, starting in 1968, highlight the themes of her work through their titles, such as Imagens Ausentes (Absent Images) and Ambiente (Milieu). These exhibitions examine dichotomies like public/private, presence/absence, interior/exterior, and transparency/opacity. For example, in one installation, a dining room scene is set up with plates, cutlery, and glasses, but the viewers cannot see it. They hear sounds from the space, but are kept at a distance by a mesh, reinforcing the separation between the public and the private.
Vieira's scenography often features elements like cut-out silhouettes, projections, hidden objects, and revealed rooms. These works extend beyond galleries into public spaces and even the natural landscapes of the Azores, her hometown. As her works expand in scale, they invite the viewer to physically engage with and inhabit the spaces, making the viewer’s body a part of the art experience.
DINING ROOM, ENVIRONMENT (1971), WOMEN HOUSE EXHIBITION, MONNAIE DE PARIS, FRANCE . 2017/2018
MILO'S VENUS, ENVIRONMENT (1972)
WINDOWS . 1978
