Irene Murphy Mick O’Shea 12-19.01.1013
art as transgression 2013
WORLD OF ITS OWN MAKING
The project is realized by Museum of Contemporary Art, Department of the National Museum in Szczecin in co-operation with Muzeum Lubuskie im. Jana Dekerta and Terminal08 in Gorzów Wielkopolski with financial support by Culture Ireland provided as part of the EU Culture Programme – Irish Presidency of the Council of the European Union 2013.
World of its own making – Świat na własne życzenie
photo: Irene Murphy, Mick O’Shea, Danny McCarthy, How long is a piece of string?, Art=Adding, Szczecin, 2010, fot. Tomasz Madajczak
Irene Murphy and Mick O’Shea pursue their interests in autonomy, collectivity, collaboration and how experience is mediated by the environment in their sound-art installations. Their presentations at the annual Sonic Vigil and Seesound events in the Irish city of Cork, as well as via The Guesthouse project space, are aimed at creating conversational engagement with different modes of artistic practice.
In World of its own making – a cycle of performance-installations – Murphy and O’Shea extend these dialogues, using projected images to demonstrate the process of drawing in action. Via wireless technology, the artists amplify the act of drawing using feedback systems that mediate sound and image in an artistic translation that takes place against a soundscape made from field recordings, instruments created from found objects, adapted technology and electronics. In this way, the audience becomes part of the environment; participating in the dialogue and creating a studio-like aesthetic.
My practice includes sound, food and sculptural installations. I frequently interweave drawing-based works with other technologies to create new relationships between familiar forms of art-making and newer media.
I use sound as an abstract non-narrative medium that silences the interior liberating the imagination to drift and gather images and experiences. Sound samples and field recordings are gathered and manipulated and used later in live improvisational concerts.
The world in which we exist is in a state of continuous motion and therefore variable and unknowable. My work practice employs transient and time based processes and different modes of operation in order to engage with the slippery nature of experience. I am interested in established keys of knowledge that mediate between perceptual information and us. Through a practice that is a form of continuous research and enquiry I use one or a combination of mediums and modes of operation that include performance, construction, assemblage, installation, food, photography, video, sound, drawing, Collaborative projects, residential interventions and initiatives.