Full Day Workshop
or text 087 262 88 60
Hope to see you there!
Full Day Workshop
or text 087 262 88 60
Hope to see you there!
‘2012-2022, a decade of exhibitions at the Olivier Cornet Gallery’, an anniversary group show at the gallery this Winter
This show includes feltwork by our member Annika Berlund.
It is open till the 22nd of February.
15 December 2022 – 22 February 2023
‘2012-2022, a decade of exhibitions at the Olivier Cornet Gallery’
A Winter group show curated by Olivier Cornet and his interns Lisa Brero and Mary Rose Porter
with special thanks to our volunteers Genevieve Rust and Natalia Sikora.
Featuring work by Annika Berglund, Aisling Conroy, Hugh Cummins, Mary A. Fitzgerald, Jordi Forniés, Conrad Frankel, David Fox, Claire Halpin, Nickie Hayden, Eoin Mac Lochlainn, Miriam McConnon, Seán Mulcahy, Sheila Naughton, Yanny Petters, Kelly Ratchford, Freda Rupp, Vicky Smith and Susanne Wawra
Launch of the show: Thursday 15 December, 6pm at the Olivier Cornet Gallery.
The gallerist will be in conversation with Mary Pavlides, Chairwoman of the Contemporary Irish Art Society (CIAS).
Availability of the show: Tuesdays to Sundays at the gallery.
The exhibition is dedicated to the memory of Rosemarie and Seán Mulcahy.
A slideshow featuring photos of key moments in the life of the gallery will also be viewable during the course of the exhibition.
Each work is accompanied by notes which you can read at the gallery, or here by clicking on ‘About the work’ below.
Due to popular demand, the show has been extended to run until the 22nd of February 2023 (instead of the 15th of February as announced initially).
The Olivier Cornet Gallery is delighted to present this anniversary exhibition
This year the Olivier Cornet Gallery celebrated 10 years in business. From its first gallery space in the Wooden Building in Temple Bar, through a tenure at 5 Cavendish Row, to its current location at 3 Great Denmark Street, the gallery has had the pleasure of hosting many solo and thematic art exhibitions. Its anniversary group show, ‘2012 – 2022, a decade of exhibitions at the Olivier Cornet Gallery’, will feature a selection of works by our currently represented artists and members of our AGA group. The show will also include work by two artists who have passed, namely the painter Seán Mulcahy (1926-2018) and the ceramicist Freda Rupp (1946-2019).
The exhibition proposes to show works that have marked important milestones in the life of the gallery and/or the career of the artists. Some stand out group exhibitions, referenced in the show, would include ‘A Terrible Beauty’ (2014), ‘Hopscotch’ (2015), ‘2°C’ (2017), presented at the VUE Art Fairs (RHA Dublin) – and our annual Bloomsday exhibitions. Sometimes described as ‘intriguing’ or ‘innovative’, these exhibitions have often challenged our perception of contemporary art in Ireland.
Featuring works from solo exhibitions by established artists such as Claire Halpin, Eoin Mac Lochlainn, Miriam McConnon and Yanny Petters, ‘2012-2022…’ will also reflect on the ways in which art can help us ask relevant questions, meditate on the state of affairs in the current epoch, empathize with -and relate to- each other and negotiate our way forward in these challenging times.
For this exhibition, the gallerist has invited his two current interns, namely Mary Rose Porter and Lisa Brero, to assist him in curating and documenting the works: Each piece indeed will be accompanied by a text -accessible through QR codes- providing some background information about the work.
Through this exhibition, visitors will also be able to see the many collaborations* the gallery has pursued over the years: guest speakers for the vernissages, guest co-curators, special collaborations such as the one with the art historian and story teller Jean Ryan, the many interventions from the world of the words: poets and organisations such as Fighting Words for instance, and the world of music through our events for Culture Night.
For the launch the gallery has invited Mary Pavlides, chairwoman of the Contemporary Irish Art Society, who will chat with Olivier about the OCG’s first decade and the works he chose for this exhibition. The exhibition will launch on the 15th of December 2022 and run until the 22nd of February 2023.
The exhibition is dedicated to the memory of Rosemarie and Seán Mulcahy.
It is that time of year again! Dublin’s Botanic Gardens are hosting a giant sculpture exhibition both indoors and outdoors. This is the 37th year of this exhibition and it is well worth a visit. The gardens are magnificent at this time of year, and you will find all manners of sculptures nestled in among the plants and trees. This is a great way to get children interested in art as it allows a natural interaction with the gardens while looking out for sculptures. It is a fabulous day out when the weather is nice.
Link to sculpture in Context website:
This year even more feltmakers are exhibiting so congrats to all and make sure to go visit!
As there are quite a number of feltmakers included there will be two blog posts covering the exhibiting artists. Artists will be listed in the order we have managed to contact them and get their information. If you have not been asked for details but are exhiting in Sculpture in Context, please contact us as there are so many artists involved that we may have missed someone. You will be included in the second part of this blog. This first blog covers the work of Fiona Leech, Tamzen Lundy, Annika Berglund, Ramona Farrelly and element15.
Toxic Tears by Fiona Leech
Bright red spots immediately conjure up recognition of poison and green, in contrast, is synonymous with nature. That is why I chose these colours for my felt hanging sculpture. The concept of this piece is to raise awareness that every rainfall is toxic. It’s called acid rain due to high levels of pollutants in the atmosphere. These toxins are invisible, so I made the piece very visible and tactile for maximum impact.
I am a Dublin based felt and textile artist. I work mainly with wool fibre which is sustainable, bio degradable, renewable and recyclable.
We are all connected by Tamzen Lundy
We are all connected is a response to the global refugee crisis, it is symbolic of our Irish diaspora and our tradition of immigration and emigration.
The movement of people because of war, economics, and hardship. The red thread that binds and connects these journeys. I have collected beach material from the wild Atlantic way, places of great natural beauty, which are also landing and exit points for long and dangerous journeys.
Choosing small glass bottles as if they encase a fragile message to loved ones.
One bottle remains empty, to be filled with future hopes.
“No one puts their children in a boat, unless the water is safer than the land” (by Warsan Shire, poet “Home.”) A poem that inspired this work.
The materials used in my piece are fully sustainable. I have used repurposed glass bottles to contain sand ( from Irish beaches… also the component for making glass). The felt tops are 100% wool, from sheep, a fully sustainable, and biodegradable material and the fibre attaching each bottle is linen, plant based, water consumption friendly material.
In my arts practice I endeavour to use materials that are as sustainable as possible. I collect and reuse packaging and I choose wool as my primary medium.
Everyday Moments by Annika Berglund
Covid changed the world. The everyday had to shrink to fit inside square walls. It consisted of the circles we walked inside these walls and the bubbles we embraced.
My work became focused on the immediate and the simple; the confining but protecting square, the circle of the nurturing bubble, the threatening image of the virus.
Felting became both practical during lockdown and symbolic;
wool fibres, through soap, water, rubbing and being knocked around, create connections that hold together to create a very strong fabric of interlocked fibres that cannot be pulled apart again. Cohesion through adversity if you will…”
Ariadne’s Gift by Ramona Farrelly
At present I am creating work that tries to incorporate the healing process of art.
The idea for this piece comes from a premise that the metaphysical wounds we suffer throughout life provide us with learning that helps us navigate and grow during our time on earth and allows life to become ever more meaningful.
The red vessels represent these wounds and they, put together, form the Chrysalis through which we intrinsically metamorphosise. In Greek mythology, Ariadne’s golden thread which, represents the soul’s knowledge, helped Theseus navigate through the labyrinth and so it is represented here as such.
Kinship by element15
element15 is a collective; individual artists cultivating their practice in tandem with each other, distinct but connected. The sustaining nature of our creative bond is a mirror of a tree’s root system, providing anchorage and sustenance to flourish in a world beset with profound challenges. In many cultures, a red string or thread represents the labyrinth of connections tying together those whose lives intertwine. By working collaboratively on Kinship we use the symbol of the red thread as a visual connection from us to the natural world, from our sculpture into the earth. www.element15.ie
The following are the names of the artists who collaborated on the piece:
Open every other day from 10-1 and 2-5pm. 7 people can visit at any one time
Liminal is a County Wicklow based group of four artists motivated by their shared experience of establishing a sense of place in their adopted county. They have come together to find strength in working collaboratively and explore contemporary ways of working with fibre arts and mixed media.
Fabienne Herbert, Christine Theobald, Anne Walsh, and Nessa McCormack met through their involvement in Feltmakers Ireland and have previously exhibited with FI. This is their first group show. Each artist has responded to the theme individually, producing wall and 3D pieces in their chosen art medium.
Instagram: Liminalart Facebook: Liminal Email: email@example.com
Anne Walsh – Bio and Artist statement
Anne worked as a dress designer for 18 years before following her passion to understand the myriad and innovative ways that humankind have developed to exist in their worlds. This led to her completing a degree in Anthropology, later focussing on the Anthropology of Art in her Masters in New Zealand. It was there that she first learnt to felt, an artform that had enthralled her many years earlier during frequent visits to Co Clare. On returning to Ireland she continued to explore feltmaking, attending master classes with Feltmakers Ireland, constantly seeking out the possibilities that feltmaking provided.
“Throughout my life I have been drawn to the alternatives and possibilities of other worlds, to other ways of being. The exhibition theme, Into the Matrix, defined in one dictionary as ‘a mass of fine-grained rock in which gems, crystals or fossils are embedded’, led me on a journey to explore the otherness of the little known, the underworlds of limestone ecosystems. My personal quest was to interpret this environment through the patterns I saw, believing that even within the unknown, we recognise something, it resonates within us, speaking a language that we know in our souls, and it offers us a window to imagine and understand diverse ways of living, seeing, and being in our world.”
Email: Awesomefelt@gmail.com Phone: 086 8177326
Christine Theobald – Bio and Artist Statement
Originally from Switzerland, Christine studied Visual Arts and Art History in Geneva. Since arriving in Ireland, many moons ago, she has worked in the field of Special Education and Autism with a particular interest in facilitating arts and creative activities. After completing a degree in Early Childhood Education, she questioned the role that creativity plays in human development. With this vision, she found herself felting her way into the visual and design world.
“Wherever my eyes wander and play, I follow. Marvelling at patterns, I like to explore the underlying framework of all things. I am fascinated by the transformation of airy fibre into shapes, revealing geometric markings, with light and shadows playing their part. Smooth felted edges create harmonious lines and blends of colour emerge softly, adding to the understanding of the piece.
Free falling ‘Into the Matrix’ of my own creative experience, I made a series of pieces that tempted fresh boundaries. Upon self-reflection, my aim was to link natural patterns and ways to follow the fibre of my intuition, directing myself towards a space of effortless creativity that I remember having as a child.”
Email: firstname.lastname@example.org Instagram outfelt.design
Nessa McCormack: Bio and Artists Statement
Nessa is an Irish artist living and working in County Wicklow. Having worked in the IT industry for many years, she returned to college as a mature student in 2015 and studied Visual Art at the National College of Art and Design, Ireland. Over the past 10 years she studied and worked with screen printed and sculptural fibre art which inform the layers and textures in her paintings.
“Vibrant abstract paintings that celebrate colour and simplicity in composition, combined with a deep connection to intricate patterns, form the basis of my work.
My paintings begin with colour investigations, usually derived from sketchbook studies and evolve intuitively through play, and a considered response to emerging layers of hand printed marks, spontaneous drawing and textured paint surfaces. I strive to keep an energy and freshness going throughout the process by working in a series of paintings, taking risks, moving quickly from one to the next interpreting and responding to what each one is telling me.
I have discovered a sense of place and a deep connection with beauty in the intricate details observed in my environment: in particular, communities of abundant thriving life forms in nature, their connectivity and constant renewal.
Indigenous global cultures have embraced this deep wisdom in the natural world and offer inspiration through symbols and vivid colours found in their textiles. My current body of work is an exploration and celebration of the beauty evident in their daily rituals.”
Email: email@example.com Instagram: nessamccormackart
Facebook: Nessa McCormack Website: www.nessamccormack.com Phone: 086 6022511
Fabienne Herbert – Bio and Artist’s Statement
Fabienne grew up in western France. The daughter of a dressmaker, she was drawn early on to the process of creation. After working in software localization for many years, she studied, graduated and worked as an Interior Architect. This experience reinforced her belief in the value of simple forms and that materials awake our senses, evoking memories. She also studied Visual Art Practice in NCAD, where she won a prize in Embroidery. Her art is inspired by observations of her surroundings, an experience or a moment in time. Using printmaking and thread work, her work evolved towards abstraction, influenced by cubism and the Bauhaus movement. Fabienne has now taken a more experimental approach to her work by making and using natural and plant-based materials.
“How I perceive my surroundings, and what engages my senses, drive what I do. I seek to capture a shape, an outline, an element and build upon this. By expressing myself, I can find a balance between a sense of order and the unexpected. My process can start with a mark, a colour, a material or a series of experiments. I use printmaking and thread work to construct simple forms in wall art and sculptural pieces. I make my own colours using plants which I turn into a natural print paste, dye or ink. Having a direct link with the raw material is fundamental to my creative process.
Into the Matrix evokes the idea of repeated forms and actions, as seen all around us. For this exhibition I explore the relationship between repetition, pattern and space and how it impacts us. Based on my observations of the San Francisco city scape, this body of work looks at how materiality and repetition define our environment. I interact and move through the city where space, form and place meet.
All my pieces in this exhibition include natural dyes, pigments or inks made either from my garden plants, local flora foraged in Wicklow and during my journeys in France, or from food and plant waste.”
Email: firstname.lastname@example.org Instagram: mellowgoatstudio
Website: www.mellowgoatstudio.com Phone: 087 6482996
Open every other day from 10-1 and 2-5pm. 7 people can visit at any one time- PLEASE GO ALONG, SUPPORT LOCAL ARTISTS AND BE INSPIRED.
Fiona joined the feltmakers Ireland committee earlier this year. Some of you may know her from her “Feltathome” handle on instagram or as a regular seller in Dublin markets- back in the day when that was a thing!
We asked Fiona to provide us with a little information about her piece “Touch”, submitted to the Endangered exhibition. Due to the change in space and location of the exhibition changing at such late notice we even had to display Fiona’s wonderful piece vertically! When really it should have been shown horizontally- it is 2m long!
Fiona was very obliging to let this happen. For those of you that did manage to visit the show in the Phoenix Park- here is how “touch” should really be viewed, and hopefully in the future we will get the chance to exhibit it again in a more spacious arena!
What inspired your piece submitted for “Endangered” and how was lockdown for you?
Before the lockdown,I was beginning to work on a totally different piece for this Endangered exhibition but quickly abandoned it as the impact of the rapid life changes soon diverted my focus.Glued to the news and watching with horror as our lives were suddenly ruled by daily numbers.On March 11th when the first life was lost to Covid 19, I stitched a small dark circle on a scrap of pre made felt. (I always saw the soul as a dark circle as a child!) I continued stitching one circle for every life lost and it soon became an evening ritual.The inability to touch,hug or even handshake had a huge impact on me and those around me.This piece evolved daily with no plan. I used dark and light scraps of previously made felt and ended up with 41 separate pieces of varying sizes (On April 20th the day that the state recorded its highest number of deaths of 77, I decided to stop) and felted a charcoal background to put it all together. The piece measured 2 meters in length, the required social distancing measurement so I added in that visual ( that we’re all so familiar with) in red stitching. Then added newspaper cutout words and red threads to connect the circles. This was to symbolise how that we are all connected somehow. We all know someone who’s been touched by this sadness.
I found that during the lockdown,I worked more than I ever have.Getting up at 6.30 every day to enjoy the quiet hours before everyone else got up.I was working on a large commission throughout the entire lockdown from design, sampling and 11 weeks of felting and stitching.It was a piece 2.3m x .5m and as I don’t have a designated studio, I needed the kitchen table, hence the early start.The bright mornings helped too!.The piece was very detailed and based on the clients love of maths, physics, Star Wars, astronomy, Doctor Who and cycling!.All handstitched.It’s finished now and hanging in it’s new home in London.Having a routine and a focus allowed me the few hours to forget all that was going on and out of my control.Working on the endangered piece was also very cathartic for me. I think it kept me grounded.I’m not sure if that’ll last as the kids go back to school.
HAND CRAFTED FELT ARTWORKwww.feltathome.ie