“it is the first time that everything that surrounds the making of art has stopped which is both daunting, when this is your livelihood, but also a real focus puller on the primal human need to make art.”

Interview by: Natalia Gonzalez Martin

Could you tell us a bit about yourself and your background? Where did you study?

I grew up in Dublin and attended foundation there. I moved to Belfast in 1990 and studied at the University of Ulster. After graduation I moved to Glasgow and became involved in the running of Transmission Gallery for about 3 years. I then moved to Amsterdam to do a residency run by the Scottish Arts Council. On finishing that I came to London and did an MA at Goldsmiths. I worked a lot in education both in community settings and at the Slade for many years after finishing my MA but stopped in 2007. I live and work in east London and have three sons.

In your work, materials like resin, jesmonite, steel are paired with softer counterparts such as foam, fabric and wax, what is the process behind your work and how do you select the materials for each piece?

I am a very materials-based sculptor and so the work is often quite led by the properties of the materials. The physicality of certain substances almost suggests the work. In approaching making a new piece you bring with you the knowledge of the body of work that came before and that, coupled with the new contexts and possibilities for communication, generates the following work.

Last year you participated in the Venice Biennale representing Ireland, your work was focused on the urgent subject of climate change (which became even more pertinent due to the flooding that the city suffered). Your piece consisted of an "immersive environment that allows the public to be both viewer and participant". I am interested in hearing your view regarding the value of art in times of crisis. 

The phrase ‘times of crisis’ doesn’t even seem to fit with our current reality, times of crisis suggest that there may be times without crisis, and that is not how it is right now. We seem to be being hit by waves of endless crises at the moment, with the Covid overtaking all. The work in Venice wasn’t focused on climate change per se – it centred around dissociation and ‘disposable’ materiality, and the way structures of coercion and power insinuate themselves into our environment - the floods did take the idea of ‘immersive’ to a new level when the works themselves were actually immersed in a chilling demonstration of the critical realities of climate change.

With regards to the current situation it is the first time that everything that surrounds the making of art has stopped which is both daunting, when this is your livelihood, but also a real focus puller on the primal human need to make art. In terms of the ‘value of art in times of crises’ I don’t think we can know where the true value emerges until we see what endures from this moment. My suspicion is that what endures may well be work that is more elegiac than kneejerk.

Tell us a bit about how you spend your day/studio routine? What is your studio like?

My studio is very studio-like. When I say that I mean it is really not an extended office or archive. It is a working space full of, in equal measure, junk and materials. There is a workshop area for more dirty types of working, like casting and welding, and then a larger area for general working, with a tiny corner carved out for an office and a kettle. It is in complete disarray at the moment because, after many years of searching and false starts, I am actually moving studio to a permanent space that I own at the end of July. This is a huge move for me as I have been in my current studio for over 10 years!

I am generally quite routine in my working practices. I go to the studio every day unless I am working offsite. I find that if I am working elsewhere I always feel like I am not really at work and the studio is really the heart of my practice. The studio gives me a sense of possibility, everything else seems quite fixed.

The exhibition is now touring in Ireland, how has the reception there been? 

The touring has been massively curtailed by Covid. The first venue at Visual in Carlow was really well received but then had to close after a few weeks and other venues and dates are all still subject to changes and cancellations.

Your project; a permanent public sculpture in King's Cross, has also coincided with the current debate around historic public sculptures and their relevance. The work of contemporary artists like yourself is taking over antiquated and unrevised discourses. How do you feel this will impact the city landscape?

I always approach public commissions with a deep consideration of the location and the users of the space in which the sculpture will be placed. I think this is the process for most public art now and well considered public artworks do have the potential to transform and enhance our cities.  Within this process there will always be missteps and and less popular public artworks, all art has its fans and its detractors, but the shift away from laudatory statues to a more social model is a plus in my book.

What artwork have you seen recently that has resonated with you?

Recently the chances to directly see art have been very limited but I visited the Esotrick Collection at the weekend – my first gallery visit since march – and it was such joy to be there. To be with the artworks and in an atmosphere dedicated to art was sublime. I hadn’t realised how much I had taken it for granted. I am looking forward to seeing Martha Jungwirth’s exhibition at Modern Art’s new space on Bury Street next week too.

Is there else in the pipeline? Could you talk about your upcoming commission for Sadler’s Wells East in 2021/22?

Over the past months I have been working on monoprints, drawing and ceramics, all things that very much relate to the hand and the head. I have a public artwork going up in Dublin in September but for now everything external to the studio is on hold and the main focus over the next few weeks is my move. I’m looking forward to working in the new studio, a clearout and a clean slate, and hopefully a re-engagement with postponed projects for the Modern institute, Glasgow; Void Gallery, Derry; and beginning a commission for Sadler’s Wells in the new year.

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All images are courtesy of the artist and agent
Date of publication: 02/09/20