What fillsthe heart…?‘An rud a líonas an tsúil líonann sé ancroí. What fills the eye fills the heart.’ Itis some years since I wascommissioned to paint that Irish saying,now covered by a nice coat of whitepaint; indicative of the temporariness ofart. Dented ego aside, it was not greatart. I am convinced however that theway to accept ‘destruction’ ordissipation of something creative is toimagine it in a new configuration, or itsessence being regenerated;reincarnated.For instance, there is an energy changebetween the beginning <strong>and</strong> the end ofan exhibition. P<strong>ie</strong>ces are collectedtogether, positions selected; the work ofa sole, or group of artists is displayedunder a title; a theme. The occasionmight be a festival, or the opportunity toexhibit within the white-walls of a publicedifice. For the selected parameters oftime the subtlest threads of livingenergy hold the vibration of theexhibition together. And then, it canseem to lose lustre. The energy shifts.I’ve wondered if it is due to familiarity; aceasing to notice any more, when thereis a formality of display. The pattern ofthe position of the images <strong>and</strong> artworkshas been sub-consciously memorised<strong>and</strong> it is that which makes them pall inthe eyes of the beholders. As artists <strong>and</strong>gallery doyennes we prefer things neat28<strong>and</strong> orderly on our walls. The chaos ofthe creative studio <strong>and</strong> the seeking oforder in the process of setting up, atlast leads to rel<strong>ie</strong>f when the final p<strong>ie</strong>cehas its position, in harmony with itstheme siblings. All is calm now; serene.But break those comfortable horizontals<strong>and</strong> verticals <strong>and</strong> the brain gives a start,then the eyes notice.So, uncomfortable as the idea mightmake some of us feel, would all our artbecome more noticeable if we were tomake more informal displays:something that is ever-evolving <strong>and</strong>repositioned, to lead the eye a chase.Oh dear, of course! That’s the art ofretail display, <strong>and</strong> we wouldn’t want tobe labelled as ‘commercial’ would we?The role of art <strong>and</strong> the artistWhat I’m struggling to write down isboth a philosophical <strong>and</strong> practicalv<strong>ie</strong>wpoint on whether as artists; wehave a moral obligation to make a lotmore of our art reach out. In otherwords, if by being separate, exclusive,minimal, precious, <strong>and</strong> elevated moreby words said <strong>and</strong> written about ourtalent amongst our peers than our nextdoor neighbours, are we in reality losingan opportunity to fill more eyes <strong>and</strong>touch more hearts within a widerpublic? ‘They’ (within our communit<strong>ie</strong>sfor whom art is something more to scoffat or to be timid of engaging with) won’tRosalind Fanning wonders what it isthat can really make art impact on thelives of those around it.go to see in our art in hallowed halls<strong>and</strong> studios - that’s the stark reality -<strong>and</strong> therefore they won’t give a toss ifwe create even smaller art-isl<strong>and</strong>s, of‘excellence’. That road doesn’t helpcreate openness to or a familiarity withthe arts: if there is to be a Centre ofExcellence in the midl<strong>and</strong>s, let ourcentral count<strong>ie</strong>s have that ‘excellence’all around.With excellent purposefulness, we couldmake art as ubiquitous as sport. Butwithin our regional centredness, <strong>and</strong> inthis time of doubt <strong>and</strong> worry <strong>and</strong> lack offunds, instead of ‘doing nowt, in doubt’,could we choose to try doing it all ways?Thus, be as excellent as often as wehave energy <strong>and</strong> occasion for, <strong>and</strong> atother times be quite content in beingaverage, or darn it – plain sloppy. Ourlaboured imperfections might besnatched up with joy <strong>and</strong> empathy. Inthese times when high-pricedexcellence doesn’t necessarily sell, <strong>and</strong>clearly, ‘commercial art’ with a bargainprice-tag more often does, it is asubjective arrogance to make thatdecision as to what should be seen bythe public, or not, <strong>and</strong> how often. Theart of our h<strong>and</strong>s <strong>and</strong> their h<strong>and</strong>s, needsto find a constant, not an occasionalpresence. Art needs to be subtly allaround, reachable <strong>and</strong> touchable <strong>and</strong>talked about quite casually or intensely,or at times insultingly!It might also help our ownproductiveness, especially when we’restuck. Letting people witness that art isnot an easy process is also admittingthat as artists, we are evolving: there isnot by any means a blank page onemoment <strong>and</strong> a very good artwork acouple of hours later.Artists can change the mindsets of, ‘Ican’t do it’ to, ‘Oh look I’m doing it’. Aquick inhalation of art is simply fulfillingthe natural motivation to feel happy,within the process of creativity <strong>and</strong>observation. We read that ten minutesof meditation de-stresses, <strong>and</strong> that tenminutes of aerobic walking reverses illhealth;so let’s offer ten minutes of art,in whatever changing way, on the mainstreets of our towns <strong>and</strong> villages.For art to work its magic, it has to beseen <strong>and</strong> exper<strong>ie</strong>nced every day:something catching the eye on a trotpast a window. You have passed ittwenty-three times but suddenly yourattention is captured <strong>and</strong> on you go,thinking/smiling/puzzled <strong>and</strong> perhapsat peace.Now is the time to be a bit morerenegade. It’s not ‘a gallery’ or ‘atheatre’ into which people fear steppingin: it could be a kind of Souk; a tumbling<strong>and</strong> touchable, bargainable, riotousheap, with gems amongst theunpolished. Art-sharing could be atanother place too - creating temporarystudio spaces in unused buildingswhere there’s no great commitment to aregular presence but there is aconsistency of up-to-date informationabout the local arts scene, in full v<strong>ie</strong>w.Artists could be working collaborativelywith local authorit<strong>ie</strong>s <strong>and</strong> businesses.The more voluble <strong>and</strong> v<strong>ie</strong>wable thepresence of creativity is, is also ofproven benefit to commerce <strong>and</strong>tourism. We could move from ‘sitespecific art’ to site non-specific art-ing.We would commit to an interaction withmore people <strong>and</strong> create opportunit<strong>ie</strong>sfor more people to exper<strong>ie</strong>nce <strong>and</strong> beparticipants in the start, the process<strong>and</strong> the finish of an artform <strong>and</strong> itsongoing dialogue.What has brought on these thoughts?Well, they throb around my head afterthe all-too-frequent exper<strong>ie</strong>nce of havingworked very hard on setting up anexhibition, only to have left no time formy own creative work, <strong>and</strong> close totears at the end when the few saleswere little above a tenner each - <strong>and</strong>that to charity.Some of you may notice threads ofconversations we have all had, someothers will have confirmed the worth ofsuch ideas <strong>and</strong> some others will alreadyclearly see art as ‘the path’ to get thetowns revived. These ideas are not reallynew, nor fully thought out, nor is thisarticle perfectly formed or finished - youcan probably tell. But I’m letting go now<strong>and</strong> wonder which way it will float. MRosalind lives in Birr <strong>and</strong> has beenrunning Tin Jug Studio since 2000.She isan occasional writer/designer/artist, etc
Fiona Booth, model <strong>and</strong> dancer fromcounty Laois. Photo taken in the TeaRooms of Emo Court, county Laois.Photograher John Lalor.Director ofDunamise <strong>Arts</strong>Centre praisedfor contributionThe Director of the Dunamaise <strong>Arts</strong>Centre, Louise Donlon, has left herposition after being appointed asManager of the new Lime Tree Theatrein Mary Immaculate College, Limerick.She moved to Laois in 1999 on herappointment to the Dunamaise <strong>and</strong> hasbeen responsible for the programmingof the theatre <strong>and</strong> gallery in the artscentre since that time.Among the highlights during her tenurehave been performances by TheCh<strong>ie</strong>ftains, Druid Theatre Company, TheGate with its Waiting for Godot tour,John O’Conor, the Abbey - <strong>and</strong> manymore too numerous to mention.Laois Photographer:Solo Exhibition at the Photo Irel<strong>and</strong> Festival - July 2012John Lalor is a Photography graduatefrom Griffith College Dublin wherehe also received an academicach<strong>ie</strong>vement of excellence inthe f<strong>ie</strong>ld of photography.Currently working from his studio TheSky-Lite in county Laois, John’s first soloexhibition Third World Eyes wasexhibited in 2010 which has fuelled alove of personal projects <strong>and</strong> motivatedjohn to think long term about his work<strong>and</strong> think of each project as on-going,allowing it time to develop <strong>and</strong> changealong its path.His love of photography took him aroundthe world for 18 months in 2007exploring the world <strong>and</strong> involvinghimself in all aspects of life <strong>and</strong> worldDarkroomculture. The expedition established anew way of seeing which has since puta frame around the world, <strong>and</strong> thecamera has become a passport to enterplaces, corners, <strong>and</strong> situations in a newframe of mind or a new intensity of light.Redesigned L<strong>and</strong>scapesThis project sets out to find a similarbeauty to that of a desert l<strong>and</strong>scape inthe decaying urban l<strong>and</strong>scape. The Irishcountryside is a place of wonder <strong>and</strong>beauty that people travel the world overto be a part of. “Travelling about theIrish countryside, its hard not to noticeab<strong>and</strong>onment, from century oldbuildings <strong>and</strong> castles to modernisolated ghost states, schools,hospitals, industrial work houses, minesthat have all been left to waste <strong>and</strong>Lost in Daylghtdecay,” explains John. “There is beautyin decay, <strong>and</strong> excitement in desertion.”Further detailsHis solo exchibition takes place inThe Darc Space, 26 North GreatGeorges St for the month of July. Seewww.denisbyrnearchitects.<strong>ie</strong>/contactfor information.PhotoIrel<strong>and</strong> is a Dublin basedorganization dedicated to stimulatedialogue around Photography in Irel<strong>and</strong>.PhotoIrel<strong>and</strong> is committed to thecultivation of a deeper underst<strong>and</strong>ing<strong>and</strong> a critical interest aroundphotographic knowledge.John’s website can be found atwww.johnlalorphotography.<strong>ie</strong>MMr Louis Brennan, Chairman of theDunamaise <strong>Arts</strong> Company, expressedhis sincere regret at the loss of such anaccomplished Director/Manager of thecentre. He said that his fellow directors<strong>and</strong> all employees were equallysaddened by the news. “Louise hasbeen a power of knowledge, exper<strong>ie</strong>nce<strong>and</strong> skills in relation to all forms of thearts,” he explained. He said that herwork in developing the Dunamaise as amodel of excellence has beenrecognised throughout the country.“We were very fortunate to have thebenefit of her managerial expertisesince the Dunamaise was opened in1999.”He wished Louise <strong>and</strong> her family everygood wish <strong>and</strong> trusted that herrelationship with the Dunamaise <strong>Arts</strong>Centre <strong>and</strong> the people of Laois wouldcontinue as she <strong>and</strong> her husb<strong>and</strong>, JimO’Br<strong>ie</strong>n, had made an importantcontribution to soc<strong>ie</strong>ty in Laois sincetheir arrival here in 1999.Louise has worked in the sector for over20 years. A native of county Longford,she holds a BA in Music <strong>and</strong> History, aDiploma in <strong>Arts</strong> Administration <strong>and</strong> aMasters in Public Administration.She began her career in the arts at theCity <strong>Arts</strong> Centre <strong>and</strong> at the <strong>Arts</strong>Council’s offices in Dublin. In the early1990s she worked in Limerick asadministrator of Isl<strong>and</strong> TheatreCompany before moving onto theinternationally acclaimed Druid TheatreCompany in Galway where she workedas General Manager. She was with thecompany during a time of majorinternational success when MartinMcDonagh’s The Beauty Queen ofLeenane (as part of The LeenaneTrilogy) toured to London, Sydney <strong>and</strong>New York where it won four Tony awardson Broadway.Louise’s move back to Limerick is a sortof homecoming for her <strong>and</strong> her family asher husb<strong>and</strong>, Jim O’Br<strong>ie</strong>n, is a native ofKildimo, county Limerick. The couplehave three girls aged from 13 to 8.M29