Waiting for the happiness

This offsite projected which formed part of the Gallery 3 programme with the Douglas Hyde Gallery in Trinity College in Dublin featured 21 artists, whose work formed a trail of artworks in and around Trinity College. I installed a series of text piece called Waiting for the happiness in the ‘Arts Block’ – a murky, cavernous and oppressive kind of space within Trinity College with an abundance of hideous florescent lighting. As installation began I think I finally realised this location was not entirely suited to the work, but it was too late to come up with an alternative. I think the images below reflect how oppressive the space is, they are dark and grubby looking. I’ve tried not to edit them to make it all look pristine and pretty because it wasn’t. Whether the work actually ‘worked’ in the space, I’m not sure. A huge number of people pass in and out of the Arts Block every day so footfall was high. This was directly reflected in the rapid degredation of the work. For me, this was a positive. For people who went to view the work three of four weeks into the show, this was possibly a negative. I guess I’m quite selfish when it comes to my work and what purpose and indeed who it serves, so this didn’t really bother me. There were approximately 20 drawings in total, all of which came under the title ‘waiting for the happiness…’. Some were so secreted away in small spaces they were quite possibly never discovered, or for that matter removed during de-installation. Three large floor pieces (ranging from 5ft to 10ft in diameter) formed the bulk of the work and I used these to create a sense of cohesion, to give the idea of a ‘body of work’ and from there the smaller pieces (some not even an inch in diameter) were dotted around the building, on the walls, the floor, pipes etc. Before installation I had decided to use the circle as a device to give an overall sense of cohesion to the work. I felt that if each of the pieces were erratically shaped or followed the form of specific objects, there would be no visual aid to tie all of the work together. I think I’m relatively happy with how it all turned out. I also think I know better for next time the nuances of the work, what I can and can’t do with it, how far to push and also when to throw my hands up in the air and say ‘this doesn’t work!’.

















15.01.10: Just a little footnote…click on the image below to read the full review of the ‘Preponderance’ show, published in this months edition of the VAI news-sheet….

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