Satellite Residency: Sarah Lincoln, Ruby Wallis, Linda Quinlan & Ruth Lyons
Sarah Lincoln (born in 1980) is a visual artist based in Ardmore, Co. Waterford. She graduated from NCAD in 2004 with a joint degree in Fine Art and the History of Art. She holds an MA in Visual Arts Practice from IADT. Sarah writes for Enclave Review and Critique.
Her work has been included in Claremorris Open, EVA and as part of numerous group exhibitions. The Irish Arts Council, Create and ArtLinks have supported her practice.
Image: Screening of the moving-image work Handling Fossils, a participatory project with Clogh Writers, Kilkenny, 2017
Sarah Lincoln uses drawing, moving-image, clay and participatory approaches to explore complexities bound up in the landscape. Her practice is inspired by sources which oscillate between local material remains and abstract/ global phenomena. The pace of change suggested by forces like evolution and plate tectonics are a creative influence. In stretching to speak between the local and the abstract her work often relies upon techniques associated with collage.
Ruby Wallis is an artist and lecturer who completed her PhD at The National College of Art and Design, Dublin in 2015. She was an artist in residence at The Irish Museum of Modern Art (2016) and received an Arts Council’s Bursary Award (2017). She was awarded the first prize at Claremorris Open Exhibition and was nominated for the Prix Pictet Photography (2013). She lectures at The Burren College of Art and the National University of Ireland.
Recent exhibitions include Art of Protest, GIAF (2018) Material Conditions, Platform Arts, Belfast (2018) Engage, The Gallery of Photography, Dublin (2017) Post-picturesque Ireland, Perlman Teaching Museum, Minnesota (2017). New Century Retro, Claremorris Open Exhibition (2016). Contact, Belfast Exposed Gallery (2016). BX Futures, Centre Culturel Irlandais (2015), Contact, Belfast Exposed Gallery (2015).
Her work is held in the Rochester Art Centre collection, Minnesota and the National University of Ireland, Galway.
Image: Revising the Sublime, printed textile and thread, 2018
I’ve been engaged in the process of photography in an increasingly performative sense, recently, returning to the body and a gendered experience of landscape. Reflecting on how traditionally an experience of the ‘sublime’ in art history has been from a male perspective.
For this series, I’m using the image to interrogate and record experiences of place, not a particular site but an imagined place. Examining the idea of horizon lines, outer edges, precipices, boundaries, periphery spaces. My aim is to incorporate a sense of touch in close-ups and embedded on-site views. Instead of adopting the traditional distant view I’ve been using the close up to highlight tactile surfaces and substances, natural or synthetic, organic or structured. I’m interested in photography and its potential to convey personal and often subjective experiences. Using embroidery as a reference to the domestic sphere and the stitch as a subversive act.
Linda Quinlan is a graduate of the Piet Zwart Institute, Rotterdam, NCAD, Dublin and Crawford College, Cork.
She has exhibited at Oakville Galleries, Toronto; Bloomberg Space, London; CRAC Alsace, Altkirch; Smart Project Space, Amsterdam; IMMA, Dublin; Loop Gallery, Seoul; Salon Populaire, Berlin; Kolnischer Kunstverein, Cologne; the Hugh Lane Gallery, Dublin; Douglas Hyde Gallery, Dublin; Crawford Gallery, Cork; RHA, Dublin; Farmleigh Gallery, Dublin and Glucksman Gallery, Cork. Residencies include The National Museum of Contemporary Art, Seoul; Centre Culturel Irlandais, Paris; Picture This, Bristol; IMMA, Dublin, TBG&S, Dublin, University of Tasmania, Hobart and Fondazione Ratti, Como.
She has received awards from the Arts Council, Culture Ireland, Dublin City Council, Dutch Ministry and the Fire Station Artists’ Studios. She was awarded the AIB Prize and is in the collection of IMMA and the Arts Council. She is currently on the board of MExIndex.
Image: METTA METABOLISM, digital print 120 x 85 cm, 2016
Linda Quinlan’s interdisciplinary practice presents as a kind of visual alchemy, choreographing a playful set of relations between video, object and sound. The gentle poetry between language, the body and the natural world are central to her practice, how they touch and transfer forms the mesh from which she makes much of her work. It’s a practice that consistently circles back to a conversation about connectivity and exploring the relational aspects of our reality – how we live, how we come together, where we look for meaning. Her recent work is grounded in the activity of painting, developing a vibrant lexicon of imagery that captures an ecological and civic spirit and engages the subject of love, nature, survival and the feminine.
Ruth E Lyons is based in Co. Offaly, Ireland. Over the past years, she has created works in the sky (Sky is the Limit, 2012, public commission for Scoil Naomh Eoin, Co. Meath), the sea (Pinking on Sea, 2014, Kinsale Arts Festival) and underground (Salarium 230million BCE – 2023 CE commission with EUSalt Assoc.)
Recent exhibitions include The Necessity of Art, Grazer Kunstverein Summer Programme, Austria, 2017, Forecast of the Next Century, 2016, Broad Art Museum, Michigan, Riddle of the Burial Grounds, 2016, Extra City, Antwerp and Follies of Youth, 2015, Hepworth Wakefield Gallery, Yorkshire. Her work is included in OPW collection. Lyons is currently working on Salarium 230million BCE – 2023 CE an exploration of Zechstein Sea, a 230 million-year-old salt seam that underpins Northern Europe, with EUSalt Assoc. and a first permanent public commission for Coláiste Raithín, Bray, Co. Wicklow. Upcoming exhibitions include Shaping Ireland, group show, National Gallery of Ireland April- July 2019 and Borderlines, Talbot Rice Gallery, Edinburgh March- July 2019
Image: Pilot Light, aluminium, mirror-polished stainless steel, bolts, rivets, quicklime, oxy-acetylene torch, 2015
My work is concerned with landscape and deep time. I am fascinated by the spectrum of human engagement with landscape throughout history and the incredible forms this has resulted in from megalithic monuments to the underground cavities of contemporary mines.
My work originates from an experience of landscape and a consideration of human engagement within it from an anthropological perspective, always questioning what constructed forms, whether functional or abstract say about the spiritual dimension of a people.
I work primarily in large-scale sculpture and am particularly passionate about the creation of public works that intervene in the development and evolution of landscapes. I am interested in developing works that reach new and incidental audiences and that can endure and resonate over time.