Martin Healy’s film, photographic and sculptural installations explore obscure theoretical and scientific motifs from early 20th century literature to create works that are a synthesis of fact, fiction and mythology. The works frequently examine the relationship between scientific theory and belief systems to make connections between cosmic time, perception and the time of lived experience.
Recent works have looked specifically at how the speculative futures described in early science fiction have anticipated the current environmental crisis. In this way the works ruminate on the many consequences of our human desire to harness the physical world.
Drawing on these ideas, his film works use cinematic convention in form and structure to explore the estrangement of the individual in specific environments or locations. These works habitually use real protagonists working in real environments to blur the boundary between the real and the fictional, creating an underlying narrative ambiguity.
Martin Healy lives and works in Dublin. He works predominantly through the mediums of photography and video and his works have been shown widely both nationally and internationally. He was a recent recipient of a residency at Cove Park, Scotland, 2014. Other residencies include Temple Bar Gallery & Studios / HIAP-International Residency Exchange, Helsinki, 2010; Centre Culturel Irlandais, Paris, 2008; Artists’ Residency Programme at the Irish Museum of Modern Art, 2007; the International Studio Programme Residency at PS1 Contemporary Art Centre, New York, 2000/01. Solo exhibitions include: A moment twice lived, Crawford Art Gallery, Cork, 2016; Terrain, Galway Arts Centre, 2015 (as part of the Galway International Arts Festival); Aether, Oonagh Young Gallery, Dublin, 2014; The Future Perfect, Rubicon Projects, Brussels, 2013; Last Man, Crawford Art Gallery (screening room), Cork, 2012; The Inhabitant, Temple Bar Gallery and studios, Dublin, 2011; Facsimile, Lismore Castle Arts, St Carthage Hall, 2011. Group exhibitions/screenings include: Aesthetica Short Film Festival, York, UK, 2016; Crash Visors, Rua Red, Dublin, 2016; Tulca festival of visual arts, Galway, 2015; Dead Eye, Rua Red, Dublin, 2015; Direction Of Travel, Sunday Screenings, London, 2015; Cosmic Dust, Visual Centre for Contemporary Art, Carlow, 2015; Transit and Transport (screening), Fact, Liverpool, 2014; Island: New Art from Ireland, Galleria Civica Di Modena, 2013; Still Light, Gallery Augusta, Suomenlinna, Helsinki, 2013; Beasts of England, Beasts of Ireland, Visual, Carlow, 2013; Fata Morgana, Catalyst Arts, Belfast, 2012; Cutting a Door, Eastlinks Gallery, Shanghai, 2012; Here’s the Tender Coming, Pallas Projects, Dublin, 2011; Its all true, Morono Kiang Gallery, Los Angeles, 2011; Terminal Convention, Cork Airport / Static Gallery, Liverpool, 2011.
Kathy Tynan will join the RHA Studio Programme in 2018 for a six-month resi- dency from March to August. Tynan will be joining Kevin Smith, Michelle Hall and Martin Healy in the RHA Studios.
Through the activities of walking and looking Tynan identi es alternative land-marks in the city, places to rest the eyes that give rise to contemplation. She observes and informally records visual quirks in her surroundings and such vagaries are later bestowed with temporal emphasis through the medium of paint. In the cracks of a pebble dashed wall and across a layer of uneven plaster real world surfaces and textures appear elevated through keen observation. She focuses on time-ravaged parts of the city that maintain a patina of the past through neglect. Slogans and symbols scrawled or sprayed across gable ends, crows looking on, trinkets in a stranger’s porch; all distract from the path ahead. She transforms the world into signs and symbols in the search for pattern and meaning. Intricate meshing of woollen yarn forms a pattern that draws the eye downwards into a stare, a puddle in the footpath interrupts the Moroccan motif and in its reflection spring buds sprout from bare branches.
In Italo Calvino’s 1985 novel, Mr Palomar, the eponymous protagonist wanders,giving thought to details in his surroundings. Calvino, via Mr Palomar, sug- 3 gests that this tendency evolves from a psychological urge to make meaning. Everywhere there is the potential for philosophising and Mr Palomar appropriates the most mundane aspects of his daily routine to pose questions on the nature of being. In his musings on a rooftop terrace he considers the aspect from which birds view the ground, noting how unforeseen fragments and wholes that can be observed from above ‘It is only after you have come to know the surface of things,’ he says out loud, ‘that you venture to seek what is underneath’ then he adds ‘but the surface is inexhaustible’.
Similarly, Tynan responds to the possibilities of the surface texture of paint, its ability to mimic real-world surfaces. Like Mr Palomar, Tynan looks for clues in unlikely places – the most trivial encounter has the potential to announce the most profound epiphany.
Kathy Tynan was born in 1984 in Dublin and graduated from NCAD with a BA in Painting in 2008 and an MA entitled, Art in the Contemporary World in 2010. Recent shows include Atonal Supersound and Hands Laid On, Kevin Kavanagh, Dublin, Many Worlds, Centre Culturel Irlandais, Paris, Night Table, Exhibition Laboratory, Helsinki, There Are Little Kingdoms, Mermaid Arts Centre, Wicklow, What Is And What Might Be, Highlanes Gallery, Drogheda and The Sky Is All Changed, Hendrons Collider, Dublin. She is represented by Kevin Kavanagh, Dublin.
Image: Kathy Tynan, Old Longing, 2017, 60 x 60cm, Image courtesy of Kevin Kavanagh Gallery, Dublin