Street view of an intersection, shop corner, displaying a digital billboard. Billboard contains a photograph with grey cloudy sky and concrete foreground with winding yellow and black tubing. Street view displays blurring effect from cars passing.

Re_sett_ing_s_Knots

In conjunction with the current exhibition at Void Gallery – Re_sett_ing_s – artists Locky Morris and Jaki Irvine present Re_sett_ing_s_Knots as a billboard display located at Strand Road & Garden City, Derry, from 22 May – 4 June 2023.

 

For more information about the exhibition which the billboard display is derived from, please see below:

 

In October, 2022 Re_sett_ing_s, a collaborative exhibition between Locky Morris and Jaki Irvine opened at The Complex Gallery, Dublin. The artists, who are probably best known for working solo, were approached separately by Mark O’ Gorman speculating on ‘hidden connections’. Unbeknownst to him, they had a close friend in common, artist Anne Tallentire, whose Setting Out 3 (2021), with its yellow builder’s string and hints at musicality, acted as a kind of starting point and touchstone for the development of the work.

 

The process involved a visit, another, getting a sense of each other’s practice, for the possibilities of lines of commonality, of the edges of things and thinking. Derry, Dublin, Derry. The Artnz Belting company on Pennyburn. The transmitter masts at Sheriff’s Mountain. A beach. A park. An overcast sky. Risks are inherent within such an approach. They didn’t know each other very well beforehand. What has emerged has been surprising, unexpected and according to the artists themselves, quite liberating.

 

The temporality of the work resonated with Void’s programme so an invitation was extended to continue the collaboration at Void. Coincidentally, Void has also had the pleasure of working with Anne Tallentire, so the connective thread continues. The artists agreed, not just to re-install the exhibition in a new setting, but to deepen the conversation, bringing other unforeseen tones and layers into play as they developed new work in response to Void’s invitation.

 

Locky Morris has become known recently for using Instagram as a way of thinking, communicating and making work. Executed mostly in the moment, during daily walks, he posts images and short videos and sees it as a form of parallel practice which is often sculptural in nature. The lines between each artist’s work became blurred and ultimately irrelevant as Jaki Irvine’s use of video installation and filmic and sonic influences creates a confluence of images and sound, where each artist inhabits and crosses over into the other’s work, responding, playing and overlapping in the manner of a conversation. Thoughts and ideas, excited and pensive, have produced a suite of looping images and sounds that are tight but also unruly. At once attentive and loose. Both artists happen to be musicians. Here the sonic elements – rhythms, industrial sounds – overlap, partly orchestrated, adding to the sense of a visual, digital, soundscape where new forms constantly mutate and develop, both within and beyond the gallery space.

 

We are delighted to have been able to commission the artists to expand this work and bring new filmic, digital and sound elements to Void Gallery and beyond.

Jaki Irvine Biography

 

 

Jaki Irvine works with video installation, photography, music composition and  writing. Her immersive video and sound installations tell stories through  fragmented, elliptical and open-ended narratives informed by rigorous research. Irvine picks out evocative details from the landscape or cityscape, in particular  honing in on Dublin and Mexico City, two cities that have shaped and informed  her practice. Contested histories, sonic bricolage, the built environment, and the  customs and communities of a city’s residents have all found their way into Irvine’s deep-reaching and polyphonic work: songs that filter through a city’s  streets, overheard conversations, the flap of a hummingbird’s wings are given equal gravitas. Her attention is often turned to the peripheral or the undervalued: re-centring stories or figures written out of history, particularly female figures, or presenting an alternative approach to the present, making space for strangeness. Humans and nature become intertwined in her  imaginative worldview, with plants, birds and creatures permeating her practice, and adding to the sense of the unknown and unknowable, and blurring the  boundary between the real and the imagined.

Locky Morris Biography

 

Locky Morris was born in Derry City where he continues to live and work. Renowned for his early work that explicitly dealt with the conflict in Northern  Ireland – most notably from a socially embedded perspective – he has gone on to develop another working vocabulary that moves fluidly between the personal, public and political. While still informed by the complexities and intricacies of his  immediate landscape, this work extends across photography, video, gallery  installation and incorporates the social media platform, Instagram. Morris’s practice, born in part out of a fascination for what confronts him in the often  chaotic details of the everyday, is rich, inventive and marked by a visual playfulness that feels distinctly his own. Running parallel to this have been numerous large-scale works and interventions in the public realm. The work has  also been influenced by his active musicianship.

 

Acknowledgements

 

Kindly supported by the Arts Council of Northern Ireland’s Organisations Digital Evolution Award, thanks to The National Lottery.

 

Image by Simon Mills, courtesy of Void Gallery.

 

Void Gallery is supported using public funding from Arts Council Northern Ireland, Arts Council National Lottery Fund, All Island Fund, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Bank of Ireland Begin Together Arts Fund, Community Foundation Ireland, Derry City and Strabane District Council, Enkalon Foundation, National Lottery Community Fund, The Ireland Funds, Ragdoll Foundation.

 

in the foreground there is a bell that reflects trees that are in the background. in the background there is the blue sky and a small square

David Beattie – Slowtime – finissage

Publication Launch & Bell Ringing

Saturday, 23rd July, 5 – 6:30pm (bell ringing at 5:45pm)

Void Gallery

Funded by Department of Foreign Affairs and Trade

Drinks will be served

Void Gallery is delighted to announce details of forthcoming finissage event for its ambitious outdoor public art sculpture project by artist David Beattie as part of our Void Offsites programme.

To celebrate the culmination of David Beattie’s sculptural commission, join us at Void Gallery for the publication launch of Listening to Places: exercises toward environmental composition by Robin Parmar.

Robin Parmar explores the phenomenology of place and the poetics of memory using non-narrative film, generative installations, and environmental composition. Interests include psycho-acoustics, visual music, field recording, radiophonics, and epistemologies of nature. He has released eleven albums of music and curates the label Stolen Mirror. Robin has a doctorate in Sonic Creativity from De Montfort University (Leicester, UK) and is Lecturer in Video, Film, and Visual Communication at the University of Limerick (Ireland). He is Vice-President of the Irish Science, Sound, and Technology Association (ISSTA) and is on the editorial board of Interference: Journal of Audio Culture.

In addition, a temporary sonic event will be held each day at high and low tides to mark the ebb and flow of the River Foyle. The nearby bell will be rung daily from the 20 – 27 of July as part of Slowtime, a multi-part project by artist David Beattie.

Bell Ringing

20 – 27 July

Daily bell ringing at high and low tide

Slowtime

David Beattie’s sculptural commission addresses place, the environment, and our relationship to time through the rhythm of the tides. Beattie places community participation at the heart of the project; inviting the local community to consider the ebb and flow of the river, encouraging participants to rethink their relationship with the river and their natural environment, prompting introspection and an examination of personal and collective histories. In this period of lockdown, the river has become a central point, giving people access to nature and to commune with the idea of slowing down. In Rebecca Solnit’s book, Wanderlust: A History of Walking, she says, “The rhythm of walking generates a kind of rhythm of thinking, and the passage through a landscape echoes or stimulates the passage through a series of thoughts. This creates an odd consonance between internal and external passage, one that suggests that the mind is also a landscape of sorts and that walking is one way to traverse it. A new thought often seems like a feature of the landscape that was there all along, as though thinking were travelling rather than making.”

David Beattie is an artist and lecturer based in Dublin, Ireland. Beattie’s sculptural practice explores the material world through experiential, physical engagements with objects and non-objects. He was a recipient of the Hennessy Art Fund for IMMA collection in 2016 and his work was recently acquired by the Arts Council for the National Art Collection in 2021. His work has been exhibited nationally and internationally including Void Offsite Commissions, Derry (2021), The Glucksman (2019), Berlin Opticians (2018 – 2019) TULCA Art Festival, Galway (2017), CCA Derry-London- derry (2017), Irish Museum of Modern Art (2017+2013), and The Mattress Factory Art Museum, Pittsburgh (2010).

Acknowledgements

Funded by the Department of Foreign Affairs and Trade, the Government of Ireland. Supported by Derry City and Strabane District Council.

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund,, Halifax Foundation, The Arts Society.

 

in the foreground there is a bell that reflects trees that are in the background. in the background there is the blue sky and a small square

David Beattie – Slowtime – finissage

Publication Launch & Bell Ringing

 

Saturday, 23rd July, 5 – 6:30pm (bell ringing at 5:45pm)

 

Void Gallery

 

Funded by Department of Foreign Affairs and Trade

 

 

Drinks will be served

 

Void Gallery is delighted to announce details of forthcoming finissage event for its ambitious outdoor public art sculpture project by artist David Beattie as part of our Void Offsites programme.

 

To celebrate the culmination of David Beattie’s sculptural commission, join us at Void Gallery for the publication launch of Listening to Places: exercises toward environmental composition by Robin Parmar.

 

Robin Parmar explores the phenomenology of place and the poetics of memory using non-narrative film, generative installations, and environmental composition. Interests include psycho-acoustics, visual music, field recording, radiophonics, and epistemologies of nature. He has released eleven albums of music and curates the label Stolen Mirror. Robin has a doctorate in Sonic Creativity from De Montfort University (Leicester, UK) and is Lecturer in Video, Film, and Visual Communication at the University of Limerick (Ireland). He is Vice-President of the Irish Science, Sound, and Technology Association (ISSTA) and is on the editorial board of Interference: Journal of Audio Culture.

 

In addition, a temporary sonic event will be held each day at high and low tides to mark the ebb and flow of the River Foyle. The nearby bell will be rung daily from the 20 – 27 of July as part of Slowtime, a multi-part project by artist David Beattie.

 

 

Bell Ringing

 

20 – 27 July

 

Daily bell ringing at high and low tide

 

Slowtime

 

David Beattie’s sculptural commission addresses place, the environment, and our relationship to time through the rhythm of the tides. Beattie places community participation at the heart of the project; inviting the local community to consider the ebb and flow of the river, encouraging participants to rethink their relationship with the river and their natural environment, prompting introspection and an examination of personal and collective histories. In this period of lockdown, the river has become a central point, giving people access to nature and to commune with the idea of slowing down. In Rebecca Solnit’s book, Wanderlust: A History of Walking, she says, “The rhythm of walking generates a kind of rhythm of thinking, and the passage through a landscape echoes or stimulates the passage through a series of thoughts. This creates an odd consonance between internal and external passage, one that suggests that the mind is also a landscape of sorts and that walking is one way to traverse it. A new thought often seems like a feature of the landscape that was there all along, as though thinking were travelling rather than making.”

 

 

David Beattie is an artist and lecturer based in Dublin, Ireland. Beattie’s sculptural practice explores the material world through experiential, physical engagements with objects and non-objects. He was a recipient of the Hennessy Art Fund for IMMA collection in 2016 and his work was recently acquired by the Arts Council for the National Art Collection in 2021. His work has been exhibited nationally and internationally including Void Offsite Commissions, Derry (2021), The Glucksman (2019), Berlin Opticians (2018 – 2019) TULCA Art Festival, Galway (2017), CCA Derry-London- derry (2017), Irish Museum of Modern Art (2017+2013), and The Mattress Factory Art Museum, Pittsburgh (2010).

 

 

 

Acknowledgements

 

Funded by the Department of Foreign Affairs and Trade, the Government of Ireland. Supported by Derry City and Strabane District Council.

 

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund,, Halifax Foundation, The Arts Society.