an archive

A N A R C H I V E

This archival book came about because I wished to gather a record of the various thought processes throughout my work, so I could understand my own ways a little more. I wanted to follow the lines between each project, to see the connections more clearly... to me they are almost

like conversations dropped off and continued, my own diary pages really. The intention is to show a description from the insides out, I suppose.

A N A R C H I V E

BATTERED

HOUSES

ARTISTS

CLOWNS

DANCE

B

C

D

A

BLATHNAID

Ní

MHURCU

A R T I S T SDIANE ARBUS: Brenda Diana Duff Frazier, Debutante of the Year, at home, 1966. Copyright © Estate of Diane Arbus, 1966. Esquire Collection, Spencer Museum of Art, University of KansasTWINS: Diane Arbus, theindecisivemoment.wordpress.comLOUISE BOURGEOIS: interviewed by Becky Poostchi, Pop Magazine, Issue 22, pg 162-3, Spring/Summer 2010 WILLIAM WEGMAN: Fashion Photographs, published by Harry N Abrams, Inc, New York, Walk-a-thon shoes, Dolce & Gabbana, 1999

UNTITLED #978: Petah Coyne, Gertrude and Juliana (The Whitney Women), Mixed media, 1999-2000SOFA HUGS MICROWAVE: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09B A T T E R E D H O U S E SALL USED UP: 35 Upper Mount St., Merrion Square, Dublin 2, 18/02/09BATTERED HOUSES: 35 Upper Mount St., Merrion Square, Dublin 2, 18/02/09

CONSTRUCTION

A N A R C H I V E

SIDE BY SIDE: 35 Upper Mount St., Merrion Square, Dublin 2, 18/02/09CONSTRUCTION: 35 Upper Mount St., Merrion Square, Dublin 2, 02/03/09UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 02/03/09UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 02/03/09SOFA HUGS MICROWAVE: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09UNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09B L A T H N A I D

N IM H U R C UUNTITLED: 35 Upper Mount St., Merrion Square, Dublin 2, 12/04/09C L O W N SMAGAZINE TEAR: Source unknownCLOWNS: Photographs by Cindy Sherman. Text and essay by Maik Schlute, Schirmer/mosel Verlag, Germany, 2004. 64 pp., 19 colour illustrationsCLOWNS: Photographs by Cindy Sherman. Text and essay by Maik Schlute, Schirmer/mosel Verlag, Germany, 2004. 64 pp., 19 colour illustrations

AB

C

D

Once I wanted to be the greatestNo wind or waterfall could stall meAnd then came the rush of the floodStars of night turned deep to dust

Melt me downInto big black armor

Leave no trace of graceJust in your honorLower me downTo culprit southMake ‘em wash a space in townFor the leadAnd the dregs of my bedI’ve been sleepin’Lower me downPin me inSecure the groundsFor the later parade

Once I wanted to be the greatestTwo fists of solid rockWith brains that could explainAny feeling

Lower me downPin me inSecure the groundsFor the leadAnd the dregs of my bedI’ve been sleepin’For the later parade

Once I wanted to be the greatestNo wind or waterfall could stall meAnd then came the rush of the floodStars of night turned deep to dust

Lyrics by Chan Marshall (Cat Stevens)

MAGAZINE TEAR: Italian Vogue, published by Conde Naste publications, 1980’s?UNTITLED: The irrepressibles in this shirt from the film ”The Forgotten Circus” devised and directed by Shelly Love, www.vidoemo.com/yvideoC O N S T R U C T I O NUNTITLED: Process room, NCAD, Dublin, 13/03/09UNTITLED: Process room, NCAD, Dublin, 13/03/09UNTITLED: Process room, NCAD, Dublin, 28/01/09UNTITLED: Process room, NCAD, Dublin, 28/01/09UNTITLED: Process room, NCAD, Dublin, 15/01/09

UNTITLED: Process room, NCAD, Dublin, 15/01/09D A N C EUNTITLED: www.eatfrenchbread.com/art-on-legsLEIGH BOWERY: www.leighbowery.comUNTITLED: greyaviary.blogspot.comTHE EXTRAVAGANT EXTROVERT LEIGH BOWERY: Documentary, includes links to a photo gallery, www.bbc.co.uk/bbcfour/documentaries/.../leigh-bowery.shtml MARK CARBERRY: Dagdha Dance Space, Limerick, 2007PIGEON: Mark Carberry, dance performance (10’), Back Loft, Dublin, 22/09/07

F

THE GREATEST

A N A R C H I V E

DESIGNERS

FLIGHT

THE GREATEST

UNTITLED: mamuskanights.blogspot.com/2007MICHAEL CLARK: Choreographer, www.londondance.comUNTITLED: www.nationalgalleries.org/collection/onlineUNTITLED: www.guardian.co.uk/stage/2009/.../guide-dance-michael-clarkSWAMP: Michal Clark revival by Rambert Dance Company, www.youtube.com/watch?v=BTrDRaHz0HQ, 2004MICHAEL CLARK COMPANY @ BARBICAN: www.londonist.com/2009/10/dance_review_michael_clark_companyRANDOM DANCE COMPANY: www.randomdance.org

CHROMA FOR THE ROYAL BALLET: Wayne McGregor, www.londondance.com/newsLOSS OF CONTROL ATAXIA: Choreography by Wayne McGregor, Random Dance Company performed in LincolnD E S I G N E R SJUN TAKAHASHI: Designer, www.hintmag.com/supernova, 04/07/06UNDERCOVER: Jun Takahashi, www.fashionatas.tribe.net/photos, 2006UNTITLED: www.amagazinecuratedby.com/juntakahashiundercoverFIVE GRACES: The dolls of Jun Takahashi, www.ablogcuratedby.com, Undercover’s e-MOOK UNDERCOVERISM Less but Better magazine

F

FORGETTING

MEMORIES

GIRLS

GOTHS

GRANNY

GREY

GARDENS

UNTITLED: www.hypebeast.comUNTITLED: readysetfashion.blogspot.comMAGAZINE TEAR: Source unidentifiedREGINA RELANG: jackiejuly.tumblr.com/REGINA RELANG: The Elegant World Of Regina Relang, edited by Esther Ruelfs and Ulrich Pohlmann, Hatje Cantz, 2005F L I G H TBIRD DRAWING: Sibyl Montague (artist)CAT POWER: “The Greatest”

A DEAD CROW: Found outside my house, photographed on a windowsill.LYRICS FOR THE GREATEST: www.songmeanings.net/THE BEAT OF MY HEART: Pinar Yolacan (artist), I-D Vol 11/11 No.252, The Feminist Issue, page 92, www.rivingtonarms.comBIRD COLLAGE: Source unidentifiedMY BETE NOIRE: Ione Pucquoi (artist), www.ionerucquoi.com/home.htmlTHE DARK: Photographed at the graveyard THE BEAT OF A BIRD TOO FAST FOR MY HEART: Photographed at the graveyardQUIETNESS: Photographed at the graveyard

G

A N A R C H I V E

UNTITLED: Palvinder Nangla (artist)F O R G E T T I N G M E M O R I E SMEMORY LANE: Photo collage, 2006THE UNBEARABLE LIGHTNESS OF BEING: Milan Kundera, Czech Republic, 68 Publishers, 1984EVERYTHING IS ILLUMINATED: Jonathan Safran Foer, pg 211-12,(Brod’s 613 Sadnesses), Houghton Mifflin Company, 2002MUSCLE MEMORY DANCE THEATRE: Dallas, Fort Worth, Texas, US, www.m2dt.

moonfruit.comTHE BOOK OF LAUGHTER AND FORGETTING: Milan Kundera, translator Michael Henry Heim, Czech, Part Two and Three, 1979G I R L SMAGAZINE TEAR: Source unidentifiableHELENA O’CONNOR: London, 2009G O T H SUNTITLED: uncyclopedia.wikia.com/wiki/GothBUNDLE OF JOY: D.L. Marian, www.foundshit.com/tag/doll

G

Dialogue is really aimed at going into the whole thought process and changing the way the thought process occurs collectively. We haven’t really paid much attention to thought as a process. We have ENGAGED in thoughts, but we have only paid attention to the content, not to the process. Why does thought require

attention? Everything requires attention, really. If we ran machines without paying attention to them, they would break down. Our thought, too, is a process, and it requires attention, otherwise it’s going to go wrong.

In such a dialogue, when one person says something, the other person does not, in general, respond with

UNTITLED: Source unknownCLERMONT: Regina Maria Roche, edited by Natalie Schroeder, 1798UNTITLED: www.flexyourplastic.co.ukG R A N N YPHOTOGRAPH OF GRANNY: Sarah Meegan’s handbagSTILL: Prada photoshoot, source unidentifiableGRANNY SARAH MEEGAN: Lough Egish, Co. Monaghan, Christmas, 2007PEASANTS IN FESTIVE CLOTHES: Nizhegorodskaya province, Russia. Courtesy of The State Historical Museum, 1900’s

DAZED AND CONFUSED: Edited by Jefferson Hack and Rankin, published by Waddell Limited, London, 2008G R E Y G A R D E N SGREY GARDENS: Documentary directed by Albert Maysles and David Maysles, starring Edith “Big Edie” Ewing Bouvier Beale and Edith “Little Edie” Bouvier Beale. Distributed by The Criterion Collection, USA, 27/09/75BIG EDDIE: Photographic still taken from documentary “Grey Gardens”LITTLE EDDIE: Photographic still taken from documentary “Grey Gardens”

H

I

M

DAVID BOHM

A N A R C H I V E

HORSE

& LINO

IONE

RUCQUOI

INTERIORS

MARK

CARBERRY

MATHEMATICS

THE MAYSLES BROTHERS: Photographic still taken from documentary “Grey Gardens” EDITH BOUVIER BEALE’S OBITUARY: The Guardian, written by journalist Sue Woodman, www.guardian.co.uk/news/2002/feb/09/guardianobituaries, 09/02/02UNTITLED: greygardensnews.blogspot.com/LITTLE EDDIE: Photographic still taken from documentary “Grey Gardens”LITTLE EDDIE: Photographic still taken from documentary “Grey Gardens”UNTITLED: Photographic still from photoshoot taken at Kilmurry Ibricken, Quilty, Co.Clare, 2006. Coincidentally the Bouviers had visited with their

au-pair named Griffin, date unknownUNTITLED: Photographic still from photoshoot taken at Kilmurry Ibricken, Quilty, Co.Clare, 2006. Coincidentally the Bouviers had visited with their au-pair named Griffin, date unknownH O R S E &L I N OUNTITLED: www.zazzle.comHORSES WHO LOVE FURNITURE: Studio, 35 Upper Mount St., Merrion Square,

H

I

M

DAVID BOHM

OSTRICHES

MOTHERS

MUSIC

MYTHOLOGY

NUNS,

BREAD

& JAM

ORNAMENTS

OXFAM RESTYLED

Dublin 2, 26/03/09UNTITLED: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 26/03/09 MY WASHING LINE: March, 2009FABRIC OF CURTAINS IN CHILD BEDROOMUNTITLED: www.chem.monash.eduUNTITLED: www.breyer-horses.allaboardtoys.com/breyer-horsesUNTITLED: www.ioffer.com/si/carousel+horsesI N T E R I O R SUNTITLED: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009

UNTITLED: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009I O N E R U C Q U O IBIRTHDAY GIRL: Rucquoi, www.ionerucquoi.com/home.htmlM A R KC A R B E R R YMARK CARBERRY: Dancer, photographed in the Process Room, NCAD, 2009 MARK CARBERRY: Dancer, photographed in the Process Room, NCAD, 2009 MARK CARBERRY: Dancer, photographed in the Process Room, NCAD, 2009

N

O

THE FIRST TIME

A N A R C H I V E

exactly the same meaning as that seen by the first person. Rather, the meanings are only similar and not identical. Thus, when the 2nd person replies, the 1st person sees a Difference between what he meant to say and what the other person understood. On considering this difference, he may then be able to see something new, which is relevant both to his own views and to those of the other person. And so it can go back and forth, with the continual emergence of a new content that is common to both participants. Thus, in a dialogue, each person does not attempt to make common certain ideas or items of information that are already known to him. Rather, it may be said that two people are making something in common, i.e., creating something new together. (from On Dialogue)

It seems then that the main trouble is that the other person is the one who is prejudiced and not listening. After all, it is easy for each one of us to see that other people are ‘blocked’ about certain questions, so that without being aware of it, they are avoiding the confrontation of contradictions in certain ideas that may be extremely dear to them. The very nature of such a ‘block’ is, however, that it is a kind of insensitivity or ‘anesthesia’ about one’s own contradictions. Evidently then, what is crucial is to be aware of the nature of one’s own ‘blocks’. If one is alert and attentive, he can see for example that whenever certain questions arise, there are fleeting sensations of fear, which push him away from consideration of those questions, and

MARK CARBERRY: Dancer, photographed during research for “Granny’s Blanket Factory”BEAUTIFUL MARKMARK & NATALIEM A T H E M A T I C SALEXIS CLANCY (mathematican): Photographed in his work room, Limerick, 2007BOHMS DIALOGUE: J. Krishnamurti with Prof. David Bohm in conversation, video.google.com/videoplay?docid=-5493135277782860485#CHALK AND BLACKBOARDS: Photograph of our process, Limerick, 2007

EPSILON THEORY: Photograph of process taken in Alexis Clancy’s workroom, Limerick, 2007MOEBIUS STRIP: Photograph of moebius strip on acetate, 2007GODELS INCOMPLETNESS THEORY: www.math.mind-crafts.com/godels_incompleteness_theoremsGURDJLEFF MOVEMENT: Photocopy of research notebook for “Knot”, 2007IMAGES OF FRACTALS: www.worldscinet.comMOEBIUS STRIPS: Tear from research notebook for “Knot”, 2007MOEBIUS: Photographed strip of acetate printed (on the right). Bifurication

N

O

THE FIRST TIME

The first time you’re unfaithful won’t be the worse time you’re unfaithful.

It will probably just be a kiss with a stranger when you’re on the piss.

But next time, you might fuck him or, even worse, you might suck him.I know I said I’d want to know but that depends how far you go.

How do you think we will adjust, now we’ve incorporated lust?

of pleasure, which attract his thoughts and cause them to be occupied with other questions. So, one is able to keep away from whatever it is that he thinks may disturb him. And as a result, he can be subtle at defending his own ideas, when he supposes that he is really listening to what other people have to say. When we come together to talk, or otherwise to act in common, can each one of us be aware of the subtle fear and pleasure sensations that ‘block’ the ability to listen freely?

R

diagram of a logistic map, displaying chaotic behaviour past a threshold (left)FRACTALS AS SEA CREATURES: Julia Set and Mandelbrot Set, www.evl.uic.edu/luc/488/lecture13.htmlPROCESS: PhotographsPROCESS: PhotographsPROCESS: PhotographsA MATHEMATICAL VISION OF BEAUTYPROCESS: Photographs

M O T H E R SBRIDIE MEEGAN: Photograph of my mother taken at the family home, late 70’sA DRESS WITHIN A DRESS: Photograph of printed ostrich lining, 2006MY MOTHERS DRESS LAID OUT ON BED: Photographed 2006MOTHER DAUGHTER RELATIONSHIPS: A collage I madeWILD STRAWBERRIES: Directed by Ingmar Bergman. Distributed by A.B. Svensk Filmindustri, Sweden, 1958THE SADNESS OF MISSING THINGS: Photographed on my bed, 2006M U S I C

P

R

ST

And will you put my trust to test if the shagging’s not the best?You said you know what I’m like.

We were chatting with your sister, I was winding you up - you think I’ve missed her. And she was fairly adamant I’m nothing but a lying cunt.

She said the first time I’m unfaithful won’t be the worst time I’m unfaithful.

Once I’ve got a taste for it, I’ve everything to waste for it.

So do you think I can adjust, now we’ve incorporated lust? Or will I put your trust to test when my behaviours not it’s best?

You said you know what I’m like.

A N A R C H I V E

RICHARD

GREY

PAUL

BAILEY

PETER

PAN

PORCELAIN

DOLLS

SAM

TAYLOR-WOOD

TED

HUGHES

THE

COCKEETES

ARAB STRAP: Aidan Moffat and Malcolm Middleton. The Album Philophobia, released under the Label Chemikal Underground, www.arabstrap.co.uk, 1998THE FIRST TIME YOU’RE UNFAITHFUL: Lyrics, www.lyred.com/lyrics/Arab+Strap/PhilophobiaPERSONAL JESUS: Johnny Cash, American IV. Produced bz Rick Rubin, 2004M Y T H O L O G YUNTITLED: www.celticmythpodshow.com/blog/UNTITLED: A.A. Attanasio Honolulu, 1992N U N S

B R E A D&J A MUNTITLED: www.stlouismonaghan.com UNTITLED: www.stlouis.ie/nunsTHIRTEEN IRISH NUNS: Rangoon, images.google.co.uk, 1945O R N A M E N T SDECORATING: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 02/02/09UNTITLED: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 02/02/09

P

R

S T

THORSTEN

BRINKMANN

WALLPAPER

THE

COMIC

BOOK

THINGS

I LISTENED

TO

MASKING TAPE: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 02/02/09ORNAMENTS: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 02/02/09SOFA HUGS MICROWAVE: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 02/02/09THINGS THAT HOLD THINGS IN PLACE: Studio, 35 Upper Mount St., Merrion Square, Dublin 2, 02/02/09O S T R I C H E SFOTO WILD LIFE PARK: www.fotawildlife.ieTEAR FROM SKETCHBOOK: Study of ostrich, 2006

TEAR FROM SKETCHBOOK: Study of ostrich, 2006SIGGI AS OSTRICH: 2006MAGAZINE TEAR: Source Unknown ROLE PLAYO X F A MR E S T Y L E DUNTITLED: www.oxfamireland.org/shops/news/2009/restyled-for-oxfam.shtmlUNTITLED: www.oxfamireland.org/shops/news/.../restyled-for-oxfamP A U L

W

I’M A BIRD GIRL

RUN RABBIT RUN

TEA FOR TWO

A N A R C H I V E

Some days I just wanna up and call it quits,

I feel like I’m surrounded by a wall of bricks,

Everytime I go to get up, I just fall in pits,

My life’s like one great big ball of shit,

If I could just put it all into all I spit,

Instead of always trying to swallow it,

Instead of staring at this wall and shit,

While I sit, writer’s block, sick of all this shit,

Can’t call it shit, all I know is I’m about to hit the wall,

If I have to see another one of mom’s alcoholic fits,

This is it, last straw, that’s all, that’s it,

I ain’t dealing with another fuckin’ politic,

I’m like a skillet bubbling until it filters up,

I’m about to kill it, I can feel it building up,

Blow this building up, I’ve been sealed enough,

My cup runneth over, I done filled it up,

The pen explodes and busts, ink spills my guts,

You think all I do is stand here and feel my nuts,

Well I’m-a show you what, you gon’ feel my rush,

You don’t feel it, then it must be too real to touch,

Peel the Dutch, I’m about to tear shit up,

Goosebumps, yeah, I’m-a make your hair sit up,

Yeah sit up, I’m-a tell you who I be,

I’m-a make you hate me, ‘cause you ain’t me,

You ain’t, it ain’t too late to finally see,

What you closed-minded fucks were too blind to see,

Whoever finds me’s gonna get a finder’s fee,

Out this world, ain’t no one out they mind as me,

You need peace of mind? Here’s a piece of mine,

All I need’s a line,

but sometimes I don’t always find the words to rhyme,

to express how I’m really feeling at that time, yea

sometimes, sometimes, sometimes

it’s just sometimes, it’s always me.

B A I L E YNO OBJECT IS AN ISLAND: Large-format photograph, www.misterpaulbailey.comP E T E R P A NSHOES: Photograph of shoes bought in Armstrong’s Vintage Emporium, The Grass Market, Edinburgh PETER PAN: Cover of 1915 edition of J.M. Barrie’s novel, first published in 1911, illustrated by F.D. BedfordUNTITLED: Scanned images from childhood Peter Pan book

UNTITLED: Scanned images from childhood Peter Pan bookPETER PAN: Scanned images from M. Barrie’s book Peter Pan in Kensington Gardens with Arthur Rackham illustrationsP O R C E L A I N D O L L STHE DOLL: Text by Carl Fox. Photography by H.Landshoff, pg 23, plate 3, published by Harry N Abrams, New York (Bisque doll, German c 1900)JUMEAU TALKING BEBES: French, c.1895, plate 14, pg 66STEINER BISQUE DOLLS: French, c.1880, plate 18, pg 70

I’M A BIRD GIRL I am a bird

girl now

I’ve got my

heart

Here in my hands now

I’ve been searching

For my wings some time

I’m gonna be born

Into soon the sky

‘Cause I’m a bird girl

And the bird girls go

to heaven

I’m a bird girl

W

RUN RABBIT RUN

TEA FOR TWO

Picture you upon my knee, Just tea for twoAnd two for tea

Just me for youAnd you for me aloneNobody near us to see us or hear us,No friends or relationsOn weekend vacations,

We won’t have it known, dear,That we own a telephone, dear...

How dark can these hallways be?

The clock strikes midnight, one, two, then half past three,

This half-assed rhyme, with this half-assed piece of paper,

I’m desperate at my desk,

If I could just get the rest of this shit off my chest again,

Stuck in a slump, can’t think of nothing,

Fuck I’m stumped, but wait, here comes something,

Nope, it’s not good enough, scribble it out, new pad,

crinkle it up and throw the shit out

I’m fizzlin’ now, thought I figured it out

ball’s in my court, but I’m scared to dribble it out

I’m afraid, but why am I afraid, why am I a slave to this trade?

Sign that I’ll spit to the grave, real enough to rile you up

Want me to flip it, I can rip it any style you want

I’m-a switch hitter bitch, Jimmy Smith ain’t a quitter

I’m-a sit it here ‘til I get enough of me to finally hit

a fucking boiling point, put some oil on your joints,

flip the coin bitch, come get destroyed,

an MC’s worst dream, I make ‘em tense,

they hate me, see me and shake like a chain-linked fence,

by the looks of ‘em you would swear that jaws was comin’,

by the screams of ‘em, you would swear I’m sawin’ someone,

by the way they running, you would swear the law was comin’,

It’s now or never, and tonight it’s all or nothing,

Mama, Jimmy keeps leaving on us, he said he’d be back,

he pinky promised, I don’t think he’s honest,

I’ll be back baby, I just gotta beat this clock

fuck this clock, I’m-a make ‘em eat this watch,

Don’t believe me? Watch, I’m-a win this race,

and I’m-a come back and rub my shit in your face, bitch!

I found my niche, you gonna hear my voice,

‘til you’re sick of it, you ain’t gonna have a choice,

if I gotta scream till I have half a lung,

if I have half a chance I’ll grab it, Rabbit Run...

WAX-HEAD DOLL: English, c.1882, plate 28, pg 81BRU BISQUE: French, c.1882, plate 69, pg 151BISQUE DOLL: Probably French, late nineteenth century, plate 71, pg 154ILLUSTRATED DOLLS: UniR I C H A R DG R E YUNTITLED: The Observer Magazine, 15/10/00UNTITLED: Illustration for Alexander McQueenUNTITLED: www.art-dept.com/illustration/gray/index

S A MT A Y L O R - W O O DBRAM STOKER’S CHAIR: Sam Taylor-Wood, self-portrait “Suspended” and “Escape Artist”, White Cube Gallery, LondonBRAM STOKERS CHAIR II: Sam Taylor-WoodESCAPE ARTIST 2: Sam Taylor-WoodIVAN: Sam Taylor-Wood, C-Type photograph, image via Artnet, www.artfagcity.comSUSPENDED VII: Sam Taylor-Wood, self-portrait

And

the

bird

girls

can

fly

Bird

girls

can

fly

Day will break and you’ll wake,And start to bake a sugar cakeFor me to take for all the boys to see.

We will raise a familyA boy for youAnd a girl for meOh, can’t you see how happy we would be...

A N A R C H I V E

T E DH U G H E SUNTITLED: Photo of my arm clasp with printed words from Ted Hughes’ “The Crow” poemCROW: Ted Hughes, “Crow’s Nerve Fails”, pg 47, The Life & Songs of the Crow, published by Faber and Faber, Uk, 1978UNTITLED: American artist Leonard Baskin drawing for the first editionCROW: Ted Hughes, “Crow Blacker Than Ever”, pg 69, The Life & Songs of the Crow, published by Faber and Faber, Uk, 1978

LEONARD BASKIN’S DRAWINGS: Ted Hughes, Crow: The Life & Songs of the CrowLEONARD BASKIN’S DRAWINGS: Ted Hughes, Crow: The Life & Songs of the CrowLEONARD BASKIN’S DRAWINGS: Ted Hughes, Crow: The Life & Songs of the CrowT H E C O C K E T T E STHE COCKETTES: Documentary directed by Bill Weber and David Weissman, USA, 2002NOCTURNAL DREAM SHOW: Steven F. Arnold lets the Cockettes perform as part of his show at the Palace Theatre in San Francisco’s North Beach neighbourhood,

31/12/69 THE COCKETTES: Photographic still from “The Cockettes” documentaryDIANE VREELAND: Photographed at the Anderson Theatre, New York, Vogue magazine, published by Conde Naste, date unidentifiableUNTITLED: www.cockettes.comCOCKETTES RETURN: Gerry Visco, Gay City News, 12/06/08HIBISCUS: The Cockettes, www.brightlightsfilm.com/37/cockettesTHE COCKETTES ARE COMING!: www.salon.comT H E

C O M I C B O O KTHE CROW: James O’Barr, released by CaliberT H I N G SIL I S T E N E DT OANTHONY AND THE JOHNSONS: “I am A Bird Now”, the critically acclaimed album featuring the Johnsons plus special guests Julia Yasuda, Lou Reed, Devendra

A N A R C H I V E

Banhart, Rufus Wainwright and Boy George. Photography by Peter Hujar, Don Felix Cervantes and Josef AstorUNTITLED: www.alwaysontherun.net/antony.htmlUNTITLED: www.antonyandthejohnsons.comUNTITLED: www.secretlycanadian.com/.../antonypress.phpTHE BEAUVOIRS SINGING TEA FOR TWO: Edith “Big Edie” Bouvier Beale, Tea for Two (sung in the documentary “Grey Gardens”), www.youtube.com/watch?v=AjVqRg0swS4 EMINEM: Whatever you say I am, the life and times of Eminem, Anthony Bozza,

Bantham Press, 2003UNTITLED: www.sing365.com/.../run-rabbit-run-lyrics-eminemHANGOVERS: Photograph the morning after wine bender, 2006SIGGI: Photograph taken at Clare St. Campus, LSAD, Limerick, 2006T H O R S T E NB R I N K M A N NUNTITLED: www.thorstenbrinkmann.comDESIGN FOR MANKIND: Self-portrait, www.kunstagenten.comDRUNE QUOLI & MONTE DEL SNOW: Thorsten Brinkmann, 2007

UNTITLED: www.damnmagazine.netW A L L P A P E RUNTITLED: Wallpaper falling away in studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009UNTITLED: Wallpaper falling away in studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009 UNTITLED: Wallpaper falling away in studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009UNTITLED: Wallpaper falling away in studio, 35 Upper Mount St., Merrion

Square, Dublin 2, 2009UNTITLED: Wallpaper falling away in studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009UNTITLED: Wallpaper falling away in studio, 35 Upper Mount St., Merrion Square, Dublin 2, 2009

A N A R C H I V E

A N A R C H I V E

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G R A N N Y ’ S B L A N K E T F A C T O R Y

O X F A M - R E S T Y L E D K N O T G R E Y G A R D E N S w i t h O S T R I C H M A N , L I M E R I C K , G R E Y

T H E C R O W

C O N T E N T S

L O C A T I O N

A Georgian house, 35 Upper Mount St., Merrion Square, Dublin 2

P H O T O G R A P H Y

NATALIE B COLEMAN and THOMAS MCGRAW LEWIS

D A N C E R C O L L A B O R A T O R &M O D E L

MARK CARBERRY

I N C O L L A B O R A T I O NW I T H

BLÁTHNAID NÍ MHURCÚ

D E S I G N E D &S T Y L E D

NATALIE B COLEMAN



Fundamentally this collaboration stems from a common interest in being involved with others in the art making process. Through conversations and just hanging out, it is clear, that despite our backgrounds in different disciplines our aim is to create work that engages with concerns such as theatricality, performance, space, movement, materiality, functionality and structures of things. Two of the most important aspects of this work is in the dialogue and working out of ideas, the three of us [Natalie, Mark & Blath] are incredibly excited about actively partaking in dynamic processed based projects. For us all the interest lies mainly in what exists and unfolds throughout the process as opposed to a quest for a finished piece. Each time we come to some conclusions it merely facilitates a base that provides an arena for many points of departure. Through the constant playing out of ideas, dialogue and documenting we are finding our own individual concerns in our own art, design and dance practices are constantly being bandied about and intersect inevitably enhancing practice and discovery. We see this project as work that will keep on evolving over time and will be exhibited/performed here and abroad. Space and site are recurring topics of discussion, the salient features of an environment and the disparate elements that exist in the specific site.

My own practice is concerned with the assemblage, dis-assemblage and re-assemblage of structure: dissecting, multiplying, juxtaposing, isolating and reducing elements. By engaging with binary opposites( man-made world and the natural world, light and dark, big scale and small etc.) and by investigating where they intersect, their points of departure, the effect they have on each other and on the space, visible systems are put through many different processes, their constituent parts stripped bare and previous understandings of the world are problematical. It is very important that the work is in constant flux and it is through these movements and explorations that more questions and challenges arise. The work manifests itself in 2D and 3D, however the investigation is always concerned with negotiating space and the relationship that exists between objects, lines, color and form be it on the surface of the picture plane or three dimensionally.

Through dialogue it is apparent that the three of us see each new space that we inhabit as an opportunity for a new source of interplay, a chance to enter into dialogue with the work, to interact with the environment in a very energetic, spontaneous way. Each time we spend time adds another layer to an already rich pot of ideas and even seep into each others practices. To have this opportunity to work within this project has for me certainly only fueled my desire to engage with other artists across a wide and varied landscape of disciplines. To date the work Granny’s Blanket Factory has created has generated a playfulness that at times goes astray within the confines of the studio and an abundance of creative energy that has the three of us going back for more.

We started as friends...

L O C A T I O N





MARK CARBERRY




NATALIE B COLEMAN


Squating just became our new hobby in...

...hi-jacking confined spaces?

...a curiosity in my interaction with specific stuff staying true to the overlapping of all of our shared ideas.

[Dublin]

Finding systems which can support a new language I see myself as “traces” in the space: traces of human life in the ultimate the living breathing human body. What is my impulse to begin moving, speaking? Living with/sharing space and the compromise...

I’m not going to perform. I’m allowing space for my own being, forgetting, remembering, telling truths and making up lies. I think to myself!

The old man and the child in the ages year old me...

Finding a confidence in my new found language... blah blah blah

Relationships with discarded objects. The living body amongst the “man made”. Returning to the most basic of interactions...

While moving in the space I ask myself what is my relationship to what is around me?

The interaction that comes out of not knowing is my interest...

Choreographing nothingness...

Morphing while this thinking occurs...

Confusing myself into another way of thinking...

The body and mind in constant motion and or allowing the space to create new modes of thinking:

morphing

interacting

speaking

sharing

forgetting

remembering

truths

lies

L O C A T I O N





MARK CARBERRY




NATALIE B COLEMAN

What happens when you move a piece of furniture, sweep up an old carpet are you hiding or dusting off or replacing memories and stories?

What happens to these memories, the footprints the dust?

What fills the space?

Is it important, the placement of things does it reflect out own position in the world our world our stature?

Do places, things hold memories or is it just our attachment is this passed down this weird melancholy to ugly things?

Are situations created because of this?

What lingers behind?

Industrial memory?

Things that keep?

A snail silvery threads... I wear my memories like a blanket, like a shield away from outside things.

The idea of reusing dismantling metaphorphsis

Is it important, the placement of things does it reflect out own position in the world our world our stature?

Do places things hold memories or is it just our attachment is this passed down this weird melancholy to ugly things are situations created because of this?

What lingers behind?

doormats

old carpets

ornaments

scraps of wallpaper

picture frames

Are you looking at dancers still?

I’m very interested in looking everywhere else. I would love to get a job as a mechanic or a plumber and then still dance, just to see how it would influence what you do. I feel like there is more inspiration outside of the world that your are in yourself... I think


L O C A T I O N





MARK CARBERRY




NATALIE B COLEMAN


you achieve something a lot more interesting when you’re not looking at dance or at paint all the time.

I have collected these parts of a steel ducting system that would have been thrown out, they’ve just been living in my space for the last couple of weeks, I’ve just been playing with them and moving them around, getting comfy with them and thinking about them, some of the shapes are incredible like this bendy thing. I have a couple of these loose boxy things, the grids...

These are nice as well — the tubes. They’re kind of squahed.

They are... they’re beautiful... I love brutalist architecture anyway, steel and concrete slabs

Which is also another interesting thing ...for something not to work as a piece of clothing.

I have been thinking about that, disorder out of chaos or chaos out of disorder [...], It’s all to do with space as well — it is; space can be really limiting or it can really bring you somewhere... I feel where we are here in the performing space. Over here is very limited because it has a specific audience... the transferring of the choreography into the visual arts or visa versa.

I was thinking about drawing. I see dance as a drawing, as a malleable object that can be played with, an ongoing exploration into new relationships.

Also when it comes to relationships, you can create a new language of a relationship with something through avoiding the normal relations or by coming up with new ones.

I love when something that has a function, especially old things that have had a function as something else and bringing them to life in a new context... because of their new relationship they are pleased somewhere else that they would not have existed in or as before.

That atmosphere plus the idea of the underlay, you know it’s underneath the carpet, all the stuff that it’s meant to be.

What symbolizes, it’ll be sluggish and hard.

How many people have walked on it, you know the history of the underlay.

Let alone being worn.

Yeah you’ll be struggling to move in it.

Robin Rhode makes me think again about drawing - it just makes the drawing a dance.

Yeah definitely, I’m having these images in my head since you said about that chalk and the dust and the colours, of a type of costume constructed architecturally around the body that just kind of falling out, it would to have...

Little platforms coming out over the eyebrows...

L O C A T I O N





MARK CARBERRY




NATALIE B COLEMAN

With things falling done...

Porcelain horses shagging delicate miniature kitchen dressers and china hand painted wardrobes collected with Ireland’s Own magazine tokens by my granny long ago and passed down, an inheritance, now been humped over by ornamental white horses with broken hooves, on a spice rack, worn on his back...

...horses fucking furniture

Is it comedy or ridicule of the tragedy of just things carrying on and on messing up the fragile threads of DNA our place in the world?


L O C A T I O N





MARK CARBERRY




NATALIE B COLEMAN

L O C A T I O N





MARK CARBERRY




NATALIE B COLEMAN


F E A T U R I N G

> Underlay jumper with gold hooks & blanket stitch> Twisted black underlay trousers> White ruched shower curtain and lace top> White ruched shower curtain and lace trousers > Lining, frilled shelve jacket with porcelain horses on miniature china furniture> Lino and screwed pleated trousers> Carpet bowed pullover

L O C A T I O N



RONAN MCCALL

M O D E L

SARAH MORAN

M A K E U P

The LAURA MERCIER COUNTER at BROWN THOMAS, Grafton Street, Dublin 2Eyelashes by THE LASH BAR, Powerscourt Centre, Clarendon Street, Dublin 2

S T Y L I N G

NATALIE B COLEMAN

In support of “Oxfam Restyled” Fashion Show

O X F A M - R E S T Y L E D

O X F A M - R E S T Y L E D

F E A T U R I N G

> Horseprinted reconstructed frilled zip shorts> Horseprinted reconstructed frilled zip blouse> Pink pleated chenille bedspread dress> Curtain frilled shorts> Reconstructed cushion jumper

L O C A T I O N



RONAN MCCALL

M O D E L

SARAH MORAN

M A K E U P

The LAURA MERCIER COUNTER at BROWN THOMAS, Grafton Street, Dublin 2Eyelashes by THE LASH BAR, Powerscourt Centre, Clarendon Street, Dublin 2

S T Y L I N G

NATALIE B COLEMAN

In support of “Oxfam Restyled” Fashion Show

GRANNY’S BLANKET FACTORY

C O L L A B O R A T I O N P R O J E C T

ALEXIS CLANCY, MARK CARBERRY, NATALIE B COLEMAN and THOMAS FOLEY

L O C A T I O N

Dagdha Dance Space, St.John’s Square, Limerick

D A N C E R

MARK CARBERRY

T Y P O G R A P H E R

THOMAS FOLEY

M A T H E M A T I C I A N

ALEXIS CLANCY

D E S I G N &S T Y L I N G

NATALIE B COLEMAN

K N O T


ALEXIS CLANCY, MARK CARBERRY, NATALIE B COLEMAN and THOMAS FOLEY

L O C A T I O N

Dagdha Dance Space, St.John’s Square, Limerick

D A N C E R

MARK CARBERRY

T Y P O G R A P H E R

THOMAS FOLEY

M A T H E M A T I C I A N

ALEXIS CLANCY


NATALIE B COLEMAN

F E A T U R I N G

> Moebius jacket> Gold and brown printed and ruched body suit> Pleated organza eye piece

G R E Y G A R D E N S w i t h O S T R I C H

G R E Y G A R D E N S w i t h O S T R I C H

L O C A T I O N

The Georgian House & Garden, Perry Square, Limerick, Ireland

M O D E L S

TARA POWER


CONOR BUCKLEY

M A K E U P

ELLEN WALSH

H A I R

GREG MORAN at Ivory Hair Salon, Cathedral Place, Limerick City

W A R D R O B E A S S I S T A N T

NICOLA KENNEDY

P R O P S

Sausages, eggshells, rusty guilded cage and one lonely pineapple


NATALIE B COLEMAN

In memory of my mother, BRIDIE MEEGAN (RIP)

F E A T U R I N G

> Knitted gold and pink jacquard ostrich printed jumper with hood> Knitted gold and pink jacquard ostrich printed wrapped skirt> Blue gathered silk jersey poloneck> Silver metallic twisted knee highs with pink piped detailing> Chiffon pleated girdle trousers> Layered silk and organza ostrich dress with silk screened ostrich lining> Silver unravelling pleated metallic twist dress with silk screened ostrich lining> Chiffon and metallic layered vest > Purple ridged ostrich pvc trousers with silk screened ostrich lining> Quilted kimono jacket with silk screened ostrich lining and pvc piped finish> Red and red orange silk mix upside down dress


MARK CARBERRY, NATALIE B COLEMAN & PAUL BAILEY

L O C A T I O N

DAGDHA DANCE SPACE, St.John’s Square, Limerick

D A N C E R

MARK CARBERRY

I N S T A L L A T I O N &P U B L I C A T I O N D E S I G N

PAUL BAILEY


PAUL BAILEY & NATALIE B COLEMAN


NATALIE B COLEMAN

M A N , L I M E R I C K , G R E Y

M A N , L I M E R I C K , G R E Y


MARK CARBERRY, NATALIE B COLEMAN & PAUL BAILEY

L O C A T I O N

DAGDHA DANCE SPACE, St.John’s Square, Limerick

D A N C E R

MARK CARBERRY

I N S T A L L A T I O N &P U B L I C A T I O N D E S I G N

PAUL BAILEY


PAUL BAILEY & NATALIE B COLEMAN


NATALIE B COLEMAN

F E A T U R I N G

> Trousers as top pleated work wear grey> Pleated wraparound high waisted pants> Face paint> Toilet bowl> Projector> Folded books> Audience

L O C A T I O N

ST.ANNES, Clancy Strand, Limerick

M O D E L

NICOLE PEISL


JOHN PAUL DOWLING

S C R E E N P R I N T I N G

DES MAC MAHON


NATALIE B COLEMAN

T H E C R O W

T H E C R O W

L O C A T I O N

ST.ANNES, Clancy Strand, Limerick

M O D E L

NICOLE PEISL


JOHN PAUL DOWLING

S C R E E N P R I N T I N G

DES MAC MAHON


NATALIE B COLEMAN

F E A T U R I N G

> Knitted crow vest > Nest ribbon skirt> Silver hooded silk mix jacket with silk screen printed lining> Pleated point ribbon leggings > Black organza wing shoulder and arm piece> (Attach/detach) grosgrain half top> Organza silk and silk flight dress> Winged jacket with silk screened lining and pleated detailing> Arm printed poetry clasps

AN ARCHIVE

We would like to acknowledge the assistance of Cavan-Monaghan LEADER, the

Minister and Department of Community, Equality & Gaeltacht Affairs, the EU and

EAFRD in part-funding this project.

FUNDED BY THE IRISH GOVERNMENT UNDER THE NATIONAL DEVELOPMENT PLAN, 2007-2013

Is fiontar comhpháirteach é LEADER Cabhán-Muineacháin idir Breifne Aontaithe

Teoranta agus Forbairt Aontaithe Teoranta Muineacháin chun an Clár Forbairt

Tuithe Éireann 2007-2013 a thoirbhirt i gcontaetha Cabhán agus Muineacháin.

Cavan-Monaghan LEADER is a joint venture between Breffni Integrated Ltd. and Monaghan

Integrated Development Ltd. for the delivery of the Rural Development Programme 2007-2013 in

counties Cavan and Monaghan.

SUPPORT

AN ARCHIVE

MARK CARBERRY; www.facebook.com/mark.carberry

BLATHNÁID NÍ MHURCÚ; www.blathnaidnimhurchu.com

RONAN MCCALL; www.facebook.com/Ronan-McCall

OXFAM; www.oxfamireland.org

DAGDHA DANCE SPACE; www.daghdha.ie

THOMAS FOLEY; www.thomasfoley.net

ALEXIS CLANCY; www.choreography.net/Raw Thinking

TARA POWER; www.tarapower.com

CONOR BUCKLEY; www.conorbuckleyphotography.com

LINKS

AN ARCHIVE

MARK CARBERRY; www.facebook.com/mark.carberry

BLATHNÁID NÍ MHURCÚ; www.blathnaidnimhurchu.com

RONAN MCCALL; www.facebook.com/Ronan-McCall

OXFAM; www.oxfamireland.org

DAGDHA DANCE SPACE; www.daghdha.ie

THOMAS FOLEY; www.thomasfoley.net

ALEXIS CLANCY; www.choreography.net/Raw Thinking

TARA POWER; www.tarapower.com

CONOR BUCKLEY; www.conorbuckleyphotography.com

THANK YOU'S

AN ARCHIVE

an archive

Documents

upper mount

merrion square

r c h i v eside

r c h i v ethis archival

constructiona n

t t e r e d h o u s

dn im h u r c uuntitled

harry n abrams