Monday 9 November 2009

detail of drawing

OLD MAN IN RURAL IRELAND





- Pól

Crossroads/ Nodal Interfaces


...Visual representing the differnces in congregational gatherings in rural and urban environments. This image also seeks to distinguish the relevance of generations on community gatherings. The drawing spans from rural old age (Leitrim) to urban youth (Belfast).The mapping exhibited shows the congregations most prevalent in Belleek, Co. Fermanagh. Belleek straddles both north and south and also typically embellishes two religions, Protestant and Catholic. The mapping shows the paths and routes these two communities use to approach their congregational hubs (parish halls, churches, community groups etc) and where these two interact and cross over. it is the 'common space' that interests me. The terms 'candle-stick' and 'pritt-stick' derive from a conversation with kids in manorhamilton. I liked the innocence of this understanding of sectarianism. It kind of emphasises the ridiculousness of it all.The PS2 rubix-cube is a graphic illustarting how this ongoing research may 'solve' a problem

- Pól

Introductary video



introductary video for live project presentations: The Moor Sheffield, Thursday 5th November 2009. Remote Control


- Pól

Tuesday 3 November 2009

THE Key Map




A map attempting to map the postcard proposals, the size of figures hinting at the influence and outreach of each proposal.

The 3 counties are then used as a model for the remainder of the border region.

Re-Introduction of Rail network




At its peak in 1920, Ireland had 5,600 km of railway, now only about one third of this remains. A large area around the border area has no rail service. There are currently a few preservation societies which run old steam trains and a few freight services linking major towns along the border. This proposal looks to re-introduce a sustainable light railway connecting towns and villages efficiently so that residents of cross border communities can travel cheaply to cultural sites either side of the border.

Monday 2 November 2009

NODAL INTERFACE




This worked out proposal is a visual loaded with rich connotations on my interpretation of Interfaces in rural areas. The research for this started with a critic on rural ‘hang-outs’ in contrast with urban ‘recreational areas’. The tradition of dancing and meeting at crossroads in rural areas evolved as a pragmatic site due to the convergence of two roads or two villages. This in itself screams with metaphor of the political/religious condition in Northern Ireland. Two communities abide side by side often segregated, sometimes integrated. In Belfast city, the overlap of these segregated areas is very evident through Ireland’s own Berlin wall’ or ‘peace-lines’ that snake through residential areas in Belfast literally separating protestant and Catholic communities. In rural areas, these enclaves of jurisdiction are not physically evident and exist predominantly as ‘states of mind’. The political border has now evaporated and it would seem infrastructure is now being laid down to ease tensions and hopefully gradually dispel any type of sectarianism or division. The CROSSROADS analogy offered a visual description of the convergence of two entities at a ‘nodal point’. The memory of more innocent times when dancing/music/performance/gatherings were organised at crossroads is now gradually beginning to look familiar in the current advent of a peaceful Northern Ireland. My proposal is to utilise this heritage and analogy and organise performances which occur at nodal points in rural towns and villages... Crossroads, Bridges, Wells, social hubs etc. This also addresses the current situation where the social hub or meeting point is the ‘pub’. I propose to create a demountable stage platform which could be easily erected at rural nodes. The platform would offer potential for performance, sculpture, dance, music, etc and would hover above or to the side of the convergence of roads or rivers without blocking their paths. It links to the idea of decontextualising the conventional artistic accommodation also, as it creates rural, country and a colloquial setting for artistic intervention. This makes art/culture much more accessible to the local farmer and offers a sense of ownership and pride to the area. This could be a model for rural regions throughout Ireland.


-Pól

PROCESSED CULTURE





This image is about the outcome of agricultural/organic practice in border areas. The interpretation is based on my visit to the Organic Centre in Manorhamilton, co. Leitrim. The centre has an outreach which stretches to both the Republic of Ireland and Northern Ireland. It seemed a successful example of cross-border communication with both communities involved. I liked the idea that the raw material - ‘the seeds’ are planted, nurtured and then harvested when ready by the people of the locality. The produce is then gathered, processed and sold in the border region. The labour and nurture is offered by both communities in various satellite vegetable patches and centres offering a sustainable mediator between communities. The notion that all this ‘procedure’ and ‘participation’ then ends up as a sauce or relish is a commentary on the ‘output’ of these centres. The fruits of rural labour so to speak. It is this agri-CULTURE which then ends up in supermarkets around the country, packaged and branded without much memory of the original ‘culture’ that created it.


-Pól

ISOLATION




This simple diagram shows the isolation experienced outside urban centres, where often the demographic is sparse, public transport is vague and services are lacking. The relative loneliness in comparison to city living is often desirable in terms of ‘pace of life’ and ‘escape to nature’ but this diagram also proposes that the audience for art will be much less, thus affecting less people. I propose this is fine. Rural art should address the vernacular and offer interpretation to the immediate locality. It should be ‘of a place’ - ‘for a place’ (quote by the famous peaceful muralists in Derry- The Bogside Artists).


-Pól

INTERPRETATION






This drawing follows on from the earlier drawing dealing with rural art addressing a different audience to urban art. After conducting informal chats with gallery curators in Belfast and then interviewing artists and curators in isolated Leitrim, the nature of the audience proved poignant. The art gallery in rural areas such as Portadown attracts a type of cult following, whereby the attendees at exhibition openings are usually familiar faces, a collective of art enthusiasts on a monthly mailing list. These ‘art voyeurs’ also travel long distances to attend these rural galleries. It would seem the vernacular society is disinterested and the ‘keen voyeur’ is necessary to fill the exhibition openings. I feel alot of this has to do with the perceived art ‘audience’ being upper class and highly educated. “What would I be going into those galleries for? I’m not sure if I would be welcome in there” to quote a local farmer in Belleek, Co. Fermanagh. “These galleries are for the people and we try to engage with the local community as much as possible. We advertise locally, we visit schools to create awareness, and we strongly encourage local participation” Megan – Gallery Manager of Portadown’s Millennium Court Gallery. Obviously there is a stigma attached to art in rural communities sometimes, not always but it exists. Public Interpretation of art pieces/cultural production/literature etc is paramount in understanding the nature of art and creating dialogue and discussion, which is necessary if the art has set out to achieve something. And it is this imposition of art (mainly from top-down Governmental agencies, administered through funding) that almost demands public interpretation. Sadly if the public are not attending these publicly funded projects then there is a quandary. Art is fundamentally about interpretation and ‘the eye-of-the-beholder’ type philosophy is key, but if the public are not involved then little output is achieved. This drawing attempts to address the outcome or discourse that evolves if art is funnelled through an ‘interpretative device’. The intention of the artist or agency may differ greatly from the viewers interpretation but that is fine and provokes discussion. In this example I used PS2’s project/publication and put it through an interpretative device, symbolising the viewer/reader. The end analysis is whatever the viewer takes away from this ‘digestion’.


-Pól

RURAL THEATRE




The rural theatre idea is about de-contextualising the conventional exhibition space. I chose to represent this as I found that when interviewed, many members of rural communities would cite that ‘they have never been to the theatre’ or ‘formal performances’ so I like the idea of re-imagining the audience of these classical performances. By situating the performance in this rural and scenic environment; I’m proposing that local residents don’t have to travel to urban centres to enjoy such theatrical shows/performances. Often the extent of formal performance was for example, a travelling cinema visiting Manorhamilton, Co. Leitrim or a theatre company that used to visit Belleek, co. Fermanagh annually. By bringing such cabaret and enjoyment to people in this medium, we are blurring the exclusivity of artistic endeavours such as clinical contemporary art galleries, or sophisticated theatre performances. It opens up what would appear a very inaccessible world to locals in rural areas.

-Pól

Re-tasking off-season machinery (work in progress)

high speed art