Can You Hear Me Now?

Artists: Enid Conway, Elena Sawczenko, Thomas Spencer, Chloe Tetrault.

Performance with Livestock for Dublin Gallery Weekend: Saturday 25 November 3-6pm.

MART presented the exhibition Can You Hear Me Now? kindly supported by Crawford College and The Arts Council of Ireland. The exhibition was presented as part of the annual Crawford Graduate Award. Mentorship by Livestock.

2 November – 1 December 2017
The MART Gallery, 190A Rathmines Rd, Lwr, Dublin 6In the inaugural year of the Crawford Graduate Award Show at MART Gallery, Can You Hear Me Now showcases Crawford College graduates working specifically in performance based practice.  The exhibition unifies the work of four graduates work whose practices deal with concerns around identity, voice and the body.

Enid Conway explores how language is used by women to communicate and express themselves. Similar to games, functioning by conceptual rules known by the users, language is a construction that needs to be learned. Through a series of audio recordings of women telling mundane yet intimate stories, Conway examines the relationship between image verses word and how women express their inner worlds using this system.

Thomas Spencer utilises humour and irony in video performative works to evoke a sense of anxiety, excitement and liberation. Through intense media based experimentation, using stop motion techniques together with endurance based performance, Spencer is attempting to understand the reasons behind repressed actions.

Chloe Tetrault Kearney’s  practice is influenced by the philosophies and ideas of the Medieval alchemical tradition and the neoplatonic revival of the middle ages. The concerns of which were the mind-body problem, the unity of opposing forces and the reconciliation of dualism, as seen through the lense of the natural world. . The artist proposes the work as a portrait of  embodied experience; of existing simultaneously as a corporeal being and a conscious observer.

Elena Sawczenko uses video and sound to create installations based on the transformation of sound from an aural experience into a visual/visceral one. As a natural compensation for losing her hearing, Elena has had to rely on developing other senses to fill the void left by permanent silence. Even though she is deaf, sound  plays a major role in her life,  having to interpret this in different ways to hearing people.

Re Inforce – Irelandweek 2017

Wednesday 18th – Saturday 21st October 2017

MART LA – Pop Up Gallery, 6556 Hollywood Blvd, Los Angeles, CA 90028, USA

As part of Ireland Week Los Angeles 2017, Irish curator Matthew Nevin of The MART Gallery Dublin has curated RE:IN FORCE a pop up contemporary visual art exhibition showcasing established Irish Visual & Live Performance Artists. The exhibition focuses on artworks that comment on the relationship between the viewer and object. Often creating a visual abstraction, which highlights the process and creation of the artworks, the exhibition showcases a series of artworks that reinforce their self-contained narratives, aiming to shape and control their own presentation and perception by the viewer. Participating artists explore and reinvent common material, technologies and methodologies, resulting in works that provoke artistic limitations through experimental new work.

This Pop Up Exhibition runs as part of Ireland Week and is co produced by LACE. See Ireland Week sponsors at www.irelandweek.com/sponsors

Artists: Richard Forrest , James L Hayes , David Lunney, Katherine Nolan

ABOUT MART   www.mart.ie

MART is an artist-led, not for profit arts organisation founded in 2007 by Matthew Nevin & Ciara Scanlan. With the help of a skilled team, our mission is to provide creative art studios and promote contemporary art through an engaging curatorial programme. Nevin & Scanlan have curated over 100 artists through previous exhibitions, events, festivals and art fairs across Ireland, UK, Europe, USA & Japan. In 2012 the pair embarked on a 16 month journey to transform the old Rathmines Fire Station, launching two galleries in 2013 as a new home for contemporary art in Ireland. MART primarily supports sculpture, video, new media, installation and performance, art making practices that break new ground, that test and stretch the material and immaterial, and challenge conventions of ‘the norm’. In 2016 MART had its biggest reach to date, as we signed on eight Artists to be represented by The MART Gallery in a first for the organisation. MART is the largest provider of independent, affordable studios and space for the arts, cultural and creative community in Dublin city. MART operate on a not for profit basis, meaning that all profits raised from studio rentals are in-invested back into our mission to develop and promote contemporary art. MART now support over 120 members in eight studio buildings across Dublin.

About Ireland Week   www.irelandweek.com

Ireland Week is a week-long conference and culture festivities from Oct. 16-21, 2017 in Los Angeles, California. In association with Ireland’s Department of Foreign Affairs and Trade, The Irish Film Board, Culture Ireland, Creative Ireland, IDA Ireland, Tourism Ireland, Enterprise Ireland. Ireland Week’s focus is to bring Ireland to the world, and the world back to Ireland. The week will see varied and compelling events with a full and comprehensive program rolling out around Los Angeles, encompassing the myriad of cultural layers that make up Ireland, past, present, and future.

ART MARKET BUDAPEST 2017

Thurs 12th October – Sunday 15th October 2017

Millenaris Cultural and Convention Centre, Building B,

Budapest, Kis Rókus u., 1024 Hungary

MART Gallery took part in Art Market Budapest from 12th – 15th October 2017, where we presented the work of three of our represented artists James L Hayes, Jane Fogarty and David Lunney.  

Art Market Budapest is Eastern Europe’s leading international art fair – it thought provokingly combines inspiring artistic content originating from the now emerging regions in and beyond Europe. The fair presents 40 galleries among which MART are the only Irish representation.  Art Market Budapest extends into Art Week Budapest which includes a series of related events, programs, discussions and workshops with the participation of many cultural communities.

www.artmarketbudapest.hu

James L Hayes is an Irish artist based in Cork. His predominantly sculptural practice also encompasses multi-disciplinary and sensory based sculptural installations. James Hayes’ current work and research practice reinvests a modernist sculptural language. Recent projects use methods of artistic production as a means by which to interrogate the boundaries between artist, artisan and art object in order to draw out the often-incongruous relationships between finished art objects, and the industrial aspects of the processes that produce these revered objects.

This research-based practice has an art historical agenda, referencing key creative influences such as the celebrated Welsh artist Barry Flanagan. Broader research interests range from contemporary interpretations of sculptural legacies, to site-specific interventionist works that draw from traces of significant pasts and histories.

He exhibits his works nationally and internationally whilst also developing large-scale public art commissions and site-specific projects. James L Hayes has been awarded numerous awards and grants to support his practice and is the principal lecturer in Sculpture at the Crawford College of Art, Cork, Ireland.

Jane Fogarty is an Irish artist based in Dublin. Painting and it’s ontology are central to her creative process and the rationale of her work. She is interested in the various ways in which we interpret and understand the passing of time and how this translates into visual language. Analogous to time, a painting can be interpreted as an accumulation of moments. Though her work is an exploration of painting, her artistic output has for the most part been sculptural.

Working in three-dimensions allows Fogarty to explore the individual components of a painting. These include surface, support, structure, materiality, time, composition and colour. She often applies creative parameters to her work, these can be temporal, material or conceptual prerequisites. Within her output individual components create a larger narrative. The finished works are physical manifestations of the artistic decision making process. She avoids illusion and illustration within her paintings and works in a completely abstract fashion. Positioning such works in a contemporary context demands the viewer to resist associations. Viewers are forced to focus on the real, tangible object confronting them

Jane Fogarty has been included in many national and international exhibitions including three solo exhibitions, her work is part of the Irish state art collection of the OPW.

David Lunney is an Irish artist based in Dublin. His artistic practice involves the undertaking of protracted art processes. Typically, these processes start with the construction of site-specific sculptural works in The Dublin Mountains and other rural areas in Ireland. These sculptures are generally created less for their inherent value but rather to provide photographic source material for documentary artworks.
The resulting documentary artworks can take the form of photographs, drawings or prints. These images are manipulated, framed and presented in a fashion which intentionally obscures and embellishes the original subject and moment that they represent.
In these artworks, it is often the relationship between representational imagery and its surrounding abstract visual information from which the concept and process behind the work can be discerned. The works have a self-contained narrative; the concept and the material process are intrinsically linked in the artworks discussion of its provenance.

MART is an artist-led, self sustaining organisation established for the development and promotion of contemporary art. Founded in 2007 by curators Matthew Nevin & Ciara Scanlan, MART is the largest artist studio provider in Dublin supporting over 120 members in 8 studio buildings.  MART Gallery was established in 2013 in an old firestation in Rathmines on the outskirts of Dublin city centre as a new exhibition space for contemporary art in Ireland. MART Gallery supports sculpture, painting, video, new media, installation and performance, in particular art making practices that break new ground and challenge conventions.

Our aim at Art Market Budapest is to establish experimental Irish contemporary art as a visible, vibrant and progressive contributor to the international art scene and to establish Irish experimental art within the commercial scene of galleries & collectors.

The exhibition of artwork at Art Market Budapest is curated by MART Gallery Manager Deirdre Morrissey.

Doireann Ni Ghrioghair – Deflated Capital II

As part of the Fire Station Artists’ Studios & MART Gallery Exhibition Award 2017

28 September – 26 October 2017

Ni Ghrioghair’s sculptural work takes its lead from monumental architecture in contemporary European cities; particularly London and Dublin. Through examining the materiality, form and aesthetics of these buildings, her work aims to probe at the psychological and physical consequences of this architecture for the individual in the city. Classical orders proliferate Western cities (and indeed beyond), imbuing buildings such as law courts, banks, government buildings and academic institutions with esteem and grandeur.

Despite being built since the 18th century, this ubiquitous style aims to cite antiquity, evincing a sense of timelessness and purity. Aesthetically, they function as signifiers of power and prestige. Ni Ghrioghair recognises them as architectural societal introjects, bestowing inherited values onto their denizens. However, as rehashed pastiches of ancient Greek and Roman architecture, she also views them as unreliable translations. A set of arbitrary aesthetics, removed from their original meaning, around which we twine the fictions of our contemporary life. For recent sculptures, she took latex casts of various architectural details of Dublin Castle. Normally these classical columns stand solid and erect. However, after the plaster is cast in an unsupported latex mould, the pillars became flaccid and deflated. While faded Georgian grandeur is particular to the history of Dublin, recent international political developments have also reminded us of the inevitable sunderance of empires. Aesthetics of permanence last longer than the power they aspire to represent.

Doireann Ní Ghrioghair (b. 1983) graduated from Chelsea College of Art & Design, London in 2010. Solo exhibitions of her work have been held at Eight Gallery, Dublin (2016) and CIT Wandesford Quay Gallery, Cork (2014).

She was selected four times to exhibit at Creekside Open, APT Gallery, London (2017, 2015, 2013 & 2011 curated by Alison Wilding, Lisa Milroy, Ceri Hand and Phyllida Barlow respectively). Notable group exhibitions include I Am A Beautiful Monster, Arthouse1, London (2017); Tulca, The Headless City (2016) curated by Daniel Jewesbury; ARTWORKS, VISUAL, Carlow (2017 & 2016); Veins, Molesworth Gallery, Dublin (2016); After the Future, Eva Biennial (2012) in Limerick curated by Annie Fletcher. She was commissioned to create an installation, Beyond Excess, at Shunt, London Bridge (2011). She has received Arts Council of Ireland bursaries and was an award winner at Now Wakes the Sea, Kinsale Arts Festival (2013). She recently completed a long-term residency at Fire Station Artist Studios.

Artist Website

Nina Fischer & Maroan el Sani – Freedom of Movement

25 Aug – 22 Sept 2017

Curated by Deirdre Morrissey supported by Directors Matthew Nevin & Ciara Scanlan.

The exhibition is kindly supported by The Arts Council of Ireland, an IMMA Production Residency, Goethe Institut Dublin and the Institut für Auslandsbeziehungen.

The MART Gallery’s curatorial vision for 2017 is to select artists who work under the parameters of risk and political agitation, creating powerful, informative and experimental work. We are delighted to present ‘Freedom of Movement’ an exhibition of film work by renowned German artists Nina Fischer & Maroan el Sani.

MART first introduced the work of Fischer & el Sani to Ireland in 2014 when the artists presented film works ‘Narita Field Trip’ and ‘Spelling Dystopia’ in an exhibition curated by Barry Kehoe.  Both pieces were created when the artists were Associate Professors at the School of Art and Design in Sapporo City University in Japan and explored tensions that arise between the forces of globalisation and specific local narratives.

Always keen to build upon established relationships with international artists, MART has invited Fischer and El Sani back to Dublin for the presentation of two recent film installations ‘Identity’s Rule of Three’ (2015) and ‘Freedom of Movement’ (2017) These films pose questions on various aspects of human identity and society, the limits of geographical, artistic and social structure, and race relations.

Nina Fischer & Maroan el Sani are visual artists and directors who have worked collaboratively since the 1990s and both live and work in Berlin. Through their work they have explored narratives in various sites around the world juxtaposing hidden histories with the lived experiences of contemporary society and questioning cultural perspectives

Fischer & el Sani have participated in numerous international exhibitions, including Seoul Media City Bienniale (2014, 2012), Aichi Triennale (2013), Curitiba Biennale (2013), the Istanbul Biennale (2007), the Gwangju Biennale (2008, 2002, 1995), the Sydney Biennale (2002), Manifesta 4, Frankfurt (2002), Liverpool Biennial of Contemporary Art (1999).

Their solo shows have been hosted by, among others: Maxxi Museum, Rome (2017), K21 – Kunstsammlung NRW, Düsseldorf (2016), MART, Dublin (2014), Museu de Arte Moderna Aloisio Magalhães, Recife (2013), the Berlinische Galerie – Museum of Modern Art, Berlin (2012), the Austin Museum of Art – Arthouse, Austin (2012), the Hiroshima Museum of Contemporary Art (2010), the Cobra Museum, Amstelveen (2010), Kunsthaus Glarus (2009), the Stedelijk Museum Bureau, Amsterdam (2007), Yamaguchi Center for Arts and Media (2005), Metropolitan Museum of Photography, Tokyo (1998)

Identity’s Rule of Three

HD, colour, stereo, 20 min., 2015

An an­i­mated film that seizes the highly controversial de­bate around the planned pre­sen­ta­tion of eth­no­log­i­cal col­lec­tions in the re­con­structed Berlin City Cas­tle as an op­por­tu­nity to en­vi­sion a dif­fer­ent fu­ture. Play­ful and yet se­ri­ous, it ex­plores ques­tions of au­then­tic­ity and iden­tity of the in­di­viduum, art, ar­chi­tec­ture and so­ci­ety.

Identity’s  Rule of Three is a collaborative work of Nina Fischer, Maroan el Sani and Bertold Stallmach.

Freedom of Movement

3 chan­nel video in­stal­la­tion, HD, 9:45 min, 2017

Evok­ing the Olympic marathon from Rome 1960, in which the Ethiopian Abebe Bik­ila con­quered the African con­ti­nent’s first gold medal, run­ning bare­foot and be­com­ing a sport­ing leg­end and a sym­bol of an Africa that is free­ing it­self of colo­nial­ism, Fis­cher & el Sani have re­con­tex­tu­alised amidst Rome’s ra­tio­nal­ist ar­chi­tec­ture, a new race in­volv­ing refugees and im­mi­grants stak­ing a claim to their “free­dom of move­ment”, also un­der­stood as the pos­si­bil­ity of being welcomed in an­other coun­try.

Activating Pangea – Destroy These Walls

JULY 8TH – AUGUST 5TH

Location: Arena 1 Gallery, Santa Monica Art Studios, 3026 Airport Avenue Santa Monica, CA 90405

Artists: Margaret O’Brien, James L Hayes, Steven Maybury, Katherine Nolan, Terence Erraught.

Photo Gallery

Featuring new work from leading Irish contemporary visual artists, including live performances on the night by Cindy Rehm, Terence Erraught, Katherine Nolan, Thinh Nguyen, Meital Yaniv.

For the third exhibition in the Activating Pangea series Destroy These Walls, curators Matthew Nevin & Ciara Scanlan of The MART Gallery Dublin Ireland, have curated a selection of artists to work under the parameters of risk, political agitation and ephemerality. Highlighting this impermanence any of the artworks which are not sold during the exhibition will be destroyed after closing. By encouraging participating artists to explore and reinvent material, technologies and methodologies, the curators have pushed for work that can provoke the limitations of the gallery environment, producing powerful, informative and experimental new work.

The curators encouraged the artists to be reactionary and politically engaged in their approach to their practice and tease out new radical ways of viewing and perceiving their art works. “There is something real in the illusion, more real than in the reality behind it” – Slavoj Žižek. This illusion acts as the power of the artist to present a world through an altered focus, to show the viewer aspects of the world that are warped and exposed. The artist – often working as the mirror for society – creates new dialogues that challenge conventional views on politics and culture, pushing for examination on our preconceived expectations of what contemporary art is and what relevance it has for the society we live in.

James L Hayes draws upon the material residues and traces of history, with interest in sites that possess a specific or significant history. Katherine Nolan explores tensions between the experiential and spectacular body. Margaret O’Brien’s work inhabits critical spaces of failure, malfunction, and slippage, and is explored through relationships between artist’s research, practice and outcome. Steven Maybury appropriates found and sourced materials to be re-contextualised, and looks to defuse our obsession with archiving, security, permanency and preservation. Terence Erraught’s practice encompasses predominantly digital video, video installation and performative events with areas of exploration which include humour, everyday absurdities, site specific engagement and the incorporation of domestic objects.

‘Activating Pangea’ is three year series of exhibitions curated by MART {Dublin}, who will work with Los Angeles based galleries and art fairs to strategically promote leading Irish Contemporary Visual Artists.

Kindly Supported by Culture Ireland and The Arts Council of Ireland. Special Thank You to Arena 1 Gallery & Santa Monica Art Studios.

Trouvées Métrage / Found Footage

20 June – 18 August 2017

The MART Gallery, 190A Rathmines Rd, Lwr, Dublin 6.

MART are proud to present Trouvées Métrage – an exhibition of experimental French digital media artwork in July 2017. Curated by Deirdre Morrissey and supported by directors Matthew Nevin and Ciara Scanlan, the exhibition opens at the MART Gallery, Dublin on Thurs 20th July and runs until 18th August 2017.

For our 2017 programme MART embarks on an ambitious new program curating artists to work under the parameters of risk and political agitation. Trouvees Métrage brings together four artists working in digital media whose practice tests and stretches the material and immaterial and challenge conventions of ‘the norm’. The artwork to be presented has been selected or ‘found’ through the Espace Multimedia Ganter collection of digital media artworks.

Artists selected are Yann Beauvais, Nicolas Montgermont, Antoine Schmitt and Pierre Jolivet.

Renowned experimental filmmaker Yann Beauvais presents three short films: p.a.c.i.f.i.c.a.ç.ã.o reaja ou será morto, which highlights police brutality in Rio de Janeiro, Brazil; alongside experimental works ‘entre-deux-mondes’ (2010)  and ‘Hezraelah’ (2006).

Nicolas Montgermont is an artist who works with sound waves through the vibration of materials and their propagation, Radioscape, 2016  was created from radio recordings made in a small farm in Besseuil, a rural area in the East of France. The nearly complete radio spectrum has been recorded methodically during weeks and assembled into one sound installation.

Antoine Schmitt creates artworks in the form of objects, installations and situations to address the processes of movement. Ballets Quantiques (Quantum Ballets) is an infinite generative visual artwork, where a choreography of a crowd of pixels display apparently arbitrary and independent movements, but are actually programmed by the same quantum-type equation

Pierre Jolivet is a visual artist whose work explores the limits of sound and space through multimedia performances. Pierre will also present a dynamic live multimedia interactive performance on the opening night.

 

Dragons of Eden | Aoibheann Greenan & Terence Erraught

MART curators Matthew Nevin & Ciara Scanlan presented Dragons of Eden, an exhibition featuring Aoibheann Greenan and Terence Erraught, with thanks to Arts Council Ireland and Dublin City Council.

15 June – 13 July 2017

The MART Gallery, 190A Rathmines Rd, Lwr, Dublin 6.

‘Dragons of Eden’ featuring work by Aoibheann Greenan {Gallery 1} and Terence Erraught {Gallery2} addresses mythological and real world societal challenges. The curators invited the artists to produce work that can provoke the limitations of the gallery environment, producing informative and experimental new work that can tease out radical ways of viewing and perceiving our culture and society. Greenan and Erraught have responded here with powerful creations that take on alternative perspectives on gender representation via symbols and icons of ancient cultures experienced through a schema of digital means.

Aoibheann Greenan presents The Eighth Seal, an installation and audio piece prompted by the Repeal the 8th movement and the ongoing struggle of Irish Women over the right to bodily autonomy. A radio interview reimagines the origins of Sheela na Gigs, ancient carvings scattered throughout Ireland depicting figures with exposed vulvas. Eschewing the tendency to interpret the Sheela through patriarchal narratives, the work proposes the symbol as both a harbinger of emancipation and metaphor for resistance. Esoteric and posthumanist motifs permeate the work, echoing the historical link between radical speculative fiction and movements for social change. The installation conjures a site for gathering, a space for consciousness raising, for invoking, for conspiring.

Terry Erraught’s work explores the masculine agenda of the contemporary artwork by addressing audiences increasingly desensitization of socio-political heinous events. In an era of instant digital media distribution, brutal violence appears to have become part of our daily routine, with audiences becoming increasingly indifferent. By engaging with mainstream media but using a primitive, ritualistic approach, Erraught attempts to connect with world events as they occur and enter our psyche. ‘Composition’ is a durational digital video painting, rather than an episodic performance, which contains references to multiple catastrophic events in recent times. Through a recognisable mythological and art historical aesthetic, the artist draws on his own personal experiences by physically manifesting into each of the constituent characters and situations in the video work. This can also be seen in Erraught’s second piece Saturn (The world revolves around me) which is a smaller installation or 3D painting recorded from a live performance. It is heavily influenced by Goya’s black paintings which portray Goya’s embittered attitude toward mankind, and struggles with panic, fear and hysteria specifically ‘Saturn Devouring his Son 1820-23’.

Echo Chamber – EUCIDA 2017 Exhibition

Featuring: Jeanne Briand, Adam Gibney, Fabien Leaustic, Helen Mac Mahon, Rasa Smite, Paula Vitola.

Curated by Matthew Nevin of MART, Assistant Curator, Deirdre Morrissey.

Lūznava Manor Rēzeknes | Latvia: 9th June – 31st August 2017

RUA RED | Ireland: 16th June – 5th August 2017 

Gantner Multimedia Space | France: 24th June – 22nd July 2017

European Connections in Digital Arts / EUCIDA is a 3 year project funded by Creative Europe led by RUA RED Ireland in partnership Gantner Multimedia Space, France and Lūznava Manor Rēzeknes, Latvia. The Project aspires to work collaboratively while demonstrating innovation and high standards contributing to making the Digital Arts sector highly visible internationally.

“an echo chamber is a metaphorical description of a situation in which information, ideas, or beliefs are amplified or reinforced by transmission and repetition inside an “enclosed” system, where different or competing views are censored, disallowed, or otherwise underrepresented.”[link]

As a curatorial platform for creation of new work, Echo Chamber has encouraged the dialogue of art and technology as a means of sharing experience and creative practice. Exhibiting simultaneously across Ireland, Latvia and France it showcases six contemporary visual artists, two from each of the host countries, whose practice is rooted in various aspects of digital technology.

Its primary aim to create an accessible conversation and debate between the digital arts, technology, politics, culture and society in an accessible way to a European wide public. The three parallel exhibitions, which mirror each other, will analyse how culture, politics and socio-economical issues are bounced around, applauded, and never truly open within one’s own Echo Chamber; i.e colleagues, friends, families etc.

The exhibitions provide a platform for the artists to push conversation beyond the normal realms of an art audience or local groups, to a further international and trans European audience. By encouraging participating artists to explore and reinvent material, technologies and methodologies, Matthew Nevin, the curator, has worked alongside the artists to re/produce work that can provoke the limitations of the ‘Echo Chamber of the normal gallery environment, into producing powerful, informative and experimental new work to a wider audience.  

These artists, often working as the mirror for society, will create new dialogues that challenge conventional views on politics and culture; pushing for examination of our preconceived expectations of what is contemporary art and its relevance to the society we live in. The curator has encouraged the artists to be reactionary and politically engaged in their approach to their practice and tease out new radical ways of viewing and perceiving their art works through technology.

Steven Maybury – A Rhythm Exposed (Routines: 5-6)

11 May – 8 June 2017

The MART Gallery, 190A Rathmines Rd, Lwr, Dublin 6.

A Rhythm Exposed (Routines: 5–6) represents the artist’s travel and conversations, combined with a curiosity into Buddhist doctrine concerning the three marks of existence. Focusing on the characteristics of Anicca, Dukkha and Anatta – Paliwords for impermanence, anxiety or suffering and non-self. They are used here as a reference to questions of ­­interest, concern and ritual. The three characteristics are common to all forms of existence.

This exhibition is part of the artist’s ongoing Routines series. In this series, which began in 2016, drawing is used as a key conceptual tool for the artist to examine obsessions in archiving, ownership and preservation and invites contemplation of the meticulous use of ink, light, and time on the aesthetic of the artworks. It is a continuous process of assembling and making, informed by reactions to the artist’s personal encounters.