Breath, at Skerries Artwaves Festival. Performance began at 07.45 low tide and concluded at 14.30 high tide. The activities refer to aspects of Skerries discovered during several research trips. The town’s 19th century embroidery industry prompted me to revisit previously used embroidered text as well as repeatedly embroidering the word ‘inhale’ while the tide rose. The limpet shell balaclava is made from shells collected from the ‘dorn’, the land bank that can be walked to Shenick Island at low Spring tides.
Thanks to Ruby Staunton for invitation to perform and documentation.
Performance in Lloyd Town Park, Tullamore: The first of four performed over 2nd and 3rd November 2016. In association with Foundaton 16.
Future Histories at Kilmainham Gaol curated by Aine Phillips and Niamh Murphy.
The performance ‘Small instruments that make revolutions’ was a commemoration of Francis Sheehy Skeffington, Thomas Dickson and Patrick McIntyre, all of whom were executed without trial at Portobello Barracks in 1916. All photos are by Joseph Carr.
Performance at Moving Bodies Butoh and Live Art Festival. June 2015
Oisin: Action II. Performance at ‘Performing Pleasure’ a Livestock event in Dublin Live Art Festival 2015
Performance and Workshop at Moving Bodies Butoh and Live Art Festival, Torino, Italy. June 2015. Curated by Ambra Bergamasco.
Performance at Belfast International Festival of Performance Art, March 2015. Curated by Brian Connolly. Photos: Jordan Hutchings
Video and editing: Max Surin.
Performance at Spatio Temporal °5, Cologne, part of Bel-Esse exchange with Bbeyond and PAErsche aktionslabor. September 2014.
May I draw your eyes? Performance in ‘Between you, me and the four walls’ curated by Michelle Browne at IETM, Project, 2013. In this work, repeated in different venues since 2012, I invite the audience/participant to sit with me as i draw at close quarters their eye. While doing so a voiceover narrates via earphones the tale of obsession with drawing other people’s eyes. For each individual it lasts five minutes. The eyes are scratched onto an alluminium plate repeatedly over the course of the event, the duration of which has varied from 2 -6 hours. See eye drawings.
Punishment for Galileo, first performed at Market Studios, 2012. I apply gold leaf to my midriff. I prepare a hula hoop with pins inserted. I then hula hoop for 2 hours. It is a reference to The title refers to Galileo who was punished for promoting his belief that the earth revolved around the sun. Most recent performance of this work at a Tactile Bosch event in Cardiff included recitation of text from Milton’s Paradise Lost. Milton met Galileo in 1638. In Bk VIII of Paradise Lost (1667) he presents the cosmological debate of the time, ‘whether Heaven move or Earth’ in , in a discussion between the angel Raphael and Adam.
Photos; Ciara McKeon.
First hoop performance; prompted by the statue of Galileo in the foyer of Queens.
Public House. A four day residency in Allen, Co. Kildare curated by Maeve Mulrennan. It culminated in an evening of performances and installation by me, Dominic Thorpe, Aine Phillips and Victoria McCormack. Photos: Jonathan Sammon
To see Jonathan Sammon’s documentation of this project see Public House (I’m not a ghost, you’re not a ghost, the camera is not a ghost) (2011) from Galway Arts Centre on Vimeo.
Singer, performed with Jeni Roddy at the joinery in 2010 as part of the show ‘Singer’
Oblit. Performance at Aspidistra Arthouse in 1998. With my head covered in gold leaf I repeatedly drew self-portraits. Each portrait would be sanded away while simultaneously sanding the gold leaf from my head. Concerns in this work around portraiture and drawing are still present today in works such as ‘May I draw your eyes?’