The Some Kind of Real exhibition opens at The Dock with an pening preview, on Friday,July 1 at 6pm with artists in conversation with Curator Cliodhna Shaffrey at 6.30pm.
The exhibition continues until September 3 and involves Neil Carroll, Kevin Cosgrove, and Hannah Fitz.
This exhibition brings together three artistic practices interested in ideas of labour, representation and memory and materiality. Some kind of real grew out of a partnership between the Dock and TBG+S and was developed through a series of conversations with the artists and the two organisations.
The artists are Neil Carroll, Kevin Cosgrove and Hannah Fitz, who are all currently studio artists in Temple Bar Gallery +Studios. Their forms of representation are approached from differing perspectives as is their engagement with ideas of the real. The works play with and address what is and attempt to explore ideas of the real; for example, in Neil Carroll’s work (combining sculpture and painting), he deconstructs the surfaces of his painted canvases to propose something more genuinely real. In Kevin Cosgrove’s work his exploration of the medium of painting finds accord in the real-life subject of the workspace. Hannah Fitz brings an exuberant re-imaging of the immediate and the familiar, presenting instead an augmented picturing of reality. The artists work across mediums of painting, sculpture and film.
In Neil Carroll’s painting installations architecture is the motif used to explore our relationship to the physical world. The trope architecture affords gives a grounded experience and is governed by rules and systems such as framing, perspectives, solids, voids and volume.
In his paintings viewpoints are literally torn apart to suggest something more chaotic, more expansive and more layered. The surface and spaces of painting are in a state of breakdown. The physicality of the works is manifestation of their making; it exposes layers, reflective of human endeavour and suggests a complex relationship to our world.
In Kevin Cosgrove’s paintings are representations of workspaces and they pay homage to traditions and practical know-how that takes place in sheds, garages, and workplaces (labour, fabricating, engineering, fixing, repairing, etc.).
The realist quality can be understood through references to and employment of historic painting tropes and depictive tricks. His paintings deal with reality within his life and habitual understanding of the places of work… empty, waiting, yet full of life care. ‘Order that looks like chaos.’#
In Hannah Fitz’s sculptural practice images of commonplace things is her starting point.
The works have a more real than real aura. Reinvigorated and refreshed in three dimensional forms as sculptural ‘gangs’, she offers a new focus on things in the world, developing folds and slippages in the relationships between the works and the story of objects.
In her video, In Light of the Lamp, the scene is constructed by collaging three layers of video footage. An actor (Isadora Epstein), attempts to take up position in front of a table, but never manages to have any physical effect on the objects or their activities.