PAPER CLAYFORMS

TEA BAGS, LATEX & UMBRELLAS

The funding I received f rom the Arts Counci l contr ibuted tothe product ion and post -product ion costs of my exhib i t ion,‘Disparpled’, at the Market Place Theatre and Arts Centre, Armagh.

I bought bas ic mater ia ls such as latex and tea bags, whichI used to create one hundred umbre l la scu lptures. As thescale of the insta l la t ion was much larger than I hador ig ina l ly proposed for the Market P lace, I had to contr ibutef inancia l ly to the cost of the found mater ia ls such as thetea bags and umbre l las .

I t was important for me to have the insta l la t ion proper lydocumented, so I h i red a photographer with appropr iateknowledge of document ing large - sca le insta l la t ion. Theresu l t ing body of documentat ion consisted of medium-format and 35mm transparencies, photographs and CDROMs. Th is leve l o f documentat ion meant I cou ld produce arange of promot iona l mater ia l , us ing t ransparencies and CDROMs, which I hope, wi l l promote my work to otherga l ler ies . Thanks to th is mater ia l , I was ab le to secure ashowing of ‘D isparp led ’ in Ards Arts Centre , Newtownards,in October.

One of the main concerns I had was that the work is bynature ephemera l . Over the past months, I have beenre juvenat ing the ind iv idua l umbre l las with she l lac to t ry toint roduce a degree of longevi ty into the insta l la t ion. Onceagain th is contr ibutes to the des i re to ga in fur ther shows

and promote a marketab le avenue for such works. Anothermethod I have employed is the product ion of f ramed pr intsmade f rom tea res idue and I bought a quant i ty of h igh-gradepr int ing paper to make th is poss ib le . I a lso purchased someready-made smal l f rames and had four la rger f rames madeto accommodate the pr ints .

I would l ike to take th is opportun i ty in thanking theArts Counci l for prov id ing me with support with in theGenera l Arts Awards Scheme and contr ibut ing to myor ig ina l proposal .

A RT I C L EA R T S C O U N C I L O F N O R T H E R N I R E L A N D S U P P O R T F O R T H E I N D I V I D U A L A R T I S T P R O G R A M M E

S I A P I S S U E 2 W I N T E R 2 0 0 3 / 2 0 0 4/ /

PUBLISHED BY THE ARTS COUNCIL OF NORTHERN IRELANDMACNEICE HOUSE 77 MALONE ROAD BELFAST BT9 6AQ TEL: 028 9038 5200 FAX; 028 9066 1715 info@artscouncil-ni.org WWW.ARTSCOUNCIL-NI.ORG

JOANNELOGAN

I would l ike to thank the Arts Counci l for my Genera lArt Award with in the Support for the Ind iv idua l Art is tProgramme 2002/03.

My award he lped me to invest igate the uniquefeatures of paper c lay which, un l ike convent iona lc lay, is st rong yet l ightweight . I t can be eas i lyrepai red before and af ter f i r ing, a lso tak ing on a verydi f ferent appearance resu l t ing in unusual f in ishes.This l ightweight f lex ib i l i ty makes i t an exce l lentmater ia l for scu lpt ing, g iv ing f reedom to st retchpossib i l i t ies without the f rust rat ion of crack ing.

Paper c lay takes very wel l to a l l k inds of ceramicdecorat ion, s l ip decorat ing on greenware (unf i red) ,under-g laz ing on b isque ware ( f i red but not g lazed)and g laze and lust re f in ishes. Another advantage isthat paper c lay p ieces can take very wel l to non- f i redcolours such as o i ls , acry l ic and meta l leaf. In Ind ia ,pa inted unf i red forms of papier-mâché c lay have ah istory that st retches back thousands of years . Withconvent iona l c lay bodies, work looks qui te poor i fnot completed in a ceramic process. SCULPTOR

The research has been fasc inat ing forme as i t has made me look andapproach my own work with a newperspect ive. As an ar t is t , I amconstant ly rev iewing my ideas andfresh out looks are a lways hea l thy.Ceramic ar t is ts l ike Graham Hay(Austra l ia) and Mel issa Ford (NewZealand) have impressed me with the i rpaper c lay scu lptures and worthwhi lenotes on process. I fee l the exerc isehas been very usefu l and sha l l becarry ing va luab le in format ion into myfuture p ieces.

CERAMICISTCLARE MCCOMISHI WOULD L IKE TO STRESS THE IMPORTANCE OF THEINDIVIDUAL ARTIST AWARDS BECAUSE WITHOUTTHIS HELP IT IS EXTREMELY DIFFICULT FOR ARTISTSLIKE ME TO HAVE A BREATHING PERIOD TO THINKAND PROGRESS. THANK YOU.

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ARTICLE [A R T S C O U N C I L O F N O R T H E R N I R E L A N D S U P P O R T F O R T H E I N D I V I D U A L A R T I S T P R O G R A M M E ] ARTICLE [A R T S C O U N C I L O F N O R T H E R N I R E L A N D S U P P O R T F O R T H E I N D I V I D U A L A R T I S T P R O G R A M M E ]

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I BOUGHTPROFESSIONALCAMERA EQUIPMENTWITH A GENERALARTS AWARD THISYEAR.

My a im in purchasing the camera(af ter at tending a DV f i lm-makingworkshop in New York) was to makemore f i lms more of ten by master ingf inancia l ly -accessib le d ig i ta ltechnology and to make mysel fmore employable in theaudio -v isua l industry.

S ince complet ing the course inNew York , I have had someopportuni t ies to work with the DSR-PD150P camera, e i ther as anoperator or an ass istant , onprofess iona l documentary shoots.Th is has been a va luableconf idence -bui ld ing exper ience.Now that I own the camera, I canapply for jobs as an independentv ideographer on corporate ,documentary and other product ions.

I red iscovered an interest indocumentary f i lm-making throughbeing thrown in at the deep end atshort not ice with a PD150 camera inthe New York workshop. I have beenresearching severa l pro jects overthe past months and can nowcommence product ion with my owncamera. These inc luded anexper imenta l p iece with an actors ’

workshop provisionally entit led Babel ,a documentary on the Bel fast C i rcusSchool and a documentary about aprofess iona l poker p layer and h isre lat ionship with h is son who wantsto fo l low in h is father ’s profess iona lfootsteps. I par t icu lar ly want toconsol idate the sk i l ls I acqui red inNew York and mine the creat ivepossib i l i t ies now avai lab le to me.

My pr inc ip le concern has been tof ind the means to deve lop and growas a f i lm ar t is t and f ind my voice asa f i lm-maker. I am now in pre -product ion mode for one of my shortscreenplays, which is themat ica l lyl inked to my feature f i lm screenplay.The camera wi l l a l low me to shootth is as a pract ica l ly no -budgetshort . In th is way, I can exp lore andwork on aspects of my feature f i lmpro ject . I wi l l have another dramafor my d i rector ’s show-ree l andincrease the chances of be inga l lowed to d i rect a future feature -f i lm pro ject .

Owning the camera has enhancedmy chances of becoming asuccessfu l independent f i lm-makerwho wi l l produce innovat ive workwith a d ist inct ive mature sty le . Inaddi t ion, owning a semi-profess iona l camera that canproduce broadcast -qua l i ty imagessigni f icant ly increases my chancesof f ind ing pa id work in theaudiov isua l industry.

AUDREYCONCANNON

ALAN NIBLOCKFILM-MAKER

MUSICIAN

‘BABEL’

The record ings for our f i rs t CD took p lace between the 6th and8th June 2002, prov id ing us with seven hours of improvisedmusic in tota l . We then se lected 50 minutes of unedi tedcomposi t ions for the CD. There are 16 t racks in a l l , eachdepict ing a var iety of ambiences.

The CD was completed in t ime for the launch and our f i rs tper formance was at the Old Museum arts centre , Be l fast , on12th September 2002. We per formed the p ieces of musica long with Robert Jarv is , us ing kyma (sound manipu lat ioncomputer) to g ive the ef fect o f the ambience of the part icu larlocat ion e .g. Marb le Arch caves, St Anne’s Cathedra l .

The per formance went wel l and cont inued to get bet ter as thepro ject came to a c lose. By the th i rd per formance, we werevery aware that these composi t ions were st i l l deve lop ing.Approaching the composi t ions in th is way is benef ic ia l to themusic ian by per forming music and cont inu ing to ‘create ’ at thesame t ime. I t was Ambient Forces ’ ob ject ive to be cha l lengedby th is approach.

The ef fect the ambience had towards the music was t ru lyinspi r ing. Th is br ings me back to the fact that ambience wasthe key factor in the construct ion of the composi t ions.

The complet ion of the CD he lped create future pro jects forAmbient Forces. One recent deve lopment has been aninv i tat ion to per form at the launch of the V isua l Arts Fest iva lat Cast lereagh, a long with Mark Keegan f rom Dubl in who iscurrent ly a Media Studies student at the Univers i ty of U lsterin Be l fast . The v isua ls are based on v is i ts to the locat ions andgather the i r own interpretat ions of ambience. I be l ieve thatthe music created for the CD is very much l inked with visual art.

We intend to cont inue pushing the boundar ies , searching forinspi rat ion to create new and innovat ive composi t ions.

My award enabled me to rea l i ze themost important course of act ion -f ree ing up my t ime f rom the f inancia lconstra ints of hav ing to work tosupport my fami ly as a s ing le mother.Being g iven the opportuni ty toconcentrate on my current pro ject ,Dol l ie Mixtures , has been inva luable ,resu l t ing in my having the t ime and thespace to ra ise the standard of thepiece. The Commission ing Edi tors ofRadio 4 have agreed to commiss ion thepi lot as a 45-minute af ternoon p lay to

be broadcast in Ju ly 2004 with apossible series coming off the back of i t .

I was a lso approached by a Londonplaywright ing agency for a copy ofGoing to the Dogs (my debut p laybroadcast in February th is year) , wi than of fer o f representat ion. Th is wouldnot have happened without the ArtsCounci l support o f an Ind iv idua l Awardlast year, which again a l lowed me thet ime of f f rom work ing to concentrate onthat part icu lar p lay.

The award brought me the t ime toexpand successfu l ly my body of workand to take the next step towardsmaking wr i t ing a profess iona l career.But , more important ly in my opin ion,having the Arts Counci l see thepotent ia l in a new wr i ter and be l iev ingmy work is o f a standard whichwarrants th is leve l o f support is noton ly encouraging f inancia l ly, but in ast range way i t he lps combat theinsecur i t ies I fee l as a th i r tysomethingsingle parent who is trying to be a writer!

VARIETIES OFAMBIENCE

AMBIENT FORCES IS AN IMPROVISING MUSICENSEMBLE THAT SEEKS TO PRODUCE COHERENT ANDIMMEDIATE COMPOSITIONS, INSPIRED BY BOTH THESURROUNDING ENVIRONMENT AND PRE-ARRANGEDABSTRACT CONCEPTS.

THE MUSICIANS RELY ON A WIDE RANGE OF MUSICEXPERIENCE , FROM THE COMMITMENTS THROUGH TOTHE EUROPEAN AVANT GARDE , COMBININGTRADITIONAL SOUNDS WITH INNOVATIVE TECHNIQUESTO CREATE PROVOCATIVE AND STIMULATING SOUNDCANVASSES.

FOLLOWING THE SUCCESS OF OUR FIRST CD, WHICHINVOLVED PLAYING IN A RANGE OF LOCATIONS FROMUNDERGROUND CAVES TO ASTRONOMICALOBSERVATORIES, OUR CURRENT PROJECT TAKES ITSINFLUENCE FROM THE VOICE , AND HOW IT IS USED FORCOMMUNICATION.

AMBIENT FORCES ARE : -ALAN NIBLOCK (ACOUSTIC BASS)ROY MITCHELL (BB & BASS CLARINETS)ALAN SHIELDS (SOUND MANIPULATIONS)PHIL SMYTH (PERCUSSION)

CAROL FREEBAIRNPLAYWRIGHT

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ARTICLE [A R T S C O U N C I L O F N O R T H E R N I R E L A N D S U P P O R T F O R T H E I N D I V I D U A L A R T I S T P R O G R A M M E ] ARTICLE [A R T S C O U N C I L O F N O R T H E R N I R E L A N D S U P P O R T F O R T H E I N D I V I D U A L A R T I S T P R O G R A M M E ]

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‘ALMOST ORPHANS’

PRINT-MAKER

The pr inter and camera have a lso proven to beindispensable too ls in the creat ive process, whose use andpotent ia l are st i l l very much expanding for me. The more Iuse these too ls in making ar t , the more I rea l ise just howf lex ib le they are and how much more can be achieved withthem. Recent ly, I have been photographing broken,imper fect or unwanted objects in auct ion houses. Theobjects have an immediate appeal for me as d iscardedplayers in count less personal h istor ies , a lmost orphanslook ing for new homes. I manipu late these photographs onthe computer, o f ten pr int ing out co lour separat ions to use in

conjunction with hand-drawn stenci ls to make original pr ints.Al l o f these too ls and processes contr ibute to and fac i l i tatethe outcome, enabl ing me to iso late and a l ter the foundobjects , and to present the aesthet ic that I want to convey.

I am int r igued with the d i f ferent poss ib i l i t ies and qua l i t iesthat d ig i ta l media have to of fer, par t icu lar ly when combinedwith t rad i t iona l pr intmaking media . Combin ing these mediain d i f ferent ways is an exp lorat ion that ’s on ly just beginn ing for me, mani fest ing into a steep, thoughsat is fy ing, learn ing curve.

I have undertaken mentor ing/ t ra in ing with Jodie Meln ickand Andrew L Harwood, both profess iona l dancepract i t ioners of internat iona l repute. The opportuni ty tohave the invo lvement of a mentor has had an importantimpact on my creat ive/choreographic processes; ass ist ingin drawing out and craf t ing mater ia l and the st ructure of mysolo . I t has a lso g iven me a great dea l o f ‘ food for thought ’in re lat ion to how I undertake a work. Th is has provenpart icu lar ly va luable at a t ime in my career where I havebegun to craf t dance through which speci f ic socia lmessages and issues are exp lored and communicated to theaudience. I t is a complex and fasc inat ing process, whichprovokes the audience to consider beyond the enjoyment ofpure movement , and I have re l ished the chance to work withtwo excel lent mentors .

I have spent t ime explor ing the ideas and concepts of mysolo through a per iod of research and deve lopment , whichinc luded t ime spent researching in format ion v ia the internetand a lso through books and dance magaz ines and journa ls .Th is again , was a va luable and important aspect of theprocess I have undertaken.

I have worked in the studio at the Ardhowen Theatre ,Ennisk i l len , and at the Share Centre , L isnaskea, toimprovise and develop mater ia l wi th the theme of powerand contro l . As my work is dance theatre/physica l theatre -based, I exp lored a st ructure which inc luded a st rongtheatr ica l edge.

In addi t ion, I cont inue to have d iscuss ions with Profess iona lDevelopment , a long-estab l ished support organizat ion fordancers based at London Contemporary Dance School .

These d iscussions have explored the deve lopment of asusta inab le mentor ing process with some of the UK’s mostestab l ished dance ar t is ts . I am very keen for th is process tocome to f ru i t ion and have support f rom the d i rector o fProfess iona l Development , Theresa Beatt ie , and theFoundat ion of Community Dance.

I per formed my ‘work in progress ’ a longside Nico la Curry atthe Old Museum arts centre in Be l fast at the end of Augustth is year. The p iece was per formed in the theatre to a fu l lhouse and was wel l rece ived. Current ly 15 minutes long,the so lo , ent i t led Prelude , worked wel l in the theatre spaceand I par t icu lar ly en joyed g iv ing the per formance at thevenue. I requested audience feedback throughquest ionnai res and the feedback to date inc ludesstatements f rom those new to dance and those moreexper ienced dance audience members.

The in format ion gathered was extremely usefu l and veryposi t ive. I am intending to use i t to in form the fur therdevelopment of my work.

Overa l l , I fee l that the pro ject was successfu l and I foundthe opportuni ty to undertake an intens ive processpart icu lar ly important at th is stage of my dance career.Al though the mentor ing that took p lace was very posi t ive,the process was on ly beginning before i t had to come to ac lose. In order to achieve the best resu l ts the processwould be most advantageous deve loped over an extendedper iod of t ime. I have been d iscussing the poss ib i l i t ies offur ther mentor ing in conjunct ion with Profess iona lDevelopment . I am very gratefu l for the support I havereceived to date.

THE FUNDING I RECEIVED FROM THE ARTS COUNCIL OF NORTHERN IRELANDENABLED ME TO PURCHASE A NEW COLOUR PRINTER FOR MY PC AND ANEW DIGITAL CAMERA . THESE WILL HELP ME IN THE DOCUMENTATION ANDPROMOTION OF MY ART WORK, AND OF MYSELF AS AN ARTIST, CREATING

NEW OPPORTUNITIES FOR SELLING, EXHIBITING AND ART-RELATED ACTIVIT IES, BOTH LOCALLY AND INTERNATIONALLYTHROUGH WEB -BASED DISTRIBUTION.

LUCYTURNER

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DYLAN QUINN DANCER

AN ARTS COUNCIL PROFESSIONAL DEVELOPMENT GRANT ENABLED ME TO UNDERTAKE THREE STRANDS OFPERSONAL DEVELOPMENT IN RESPECT OF MY DEVELOPMENT AS A DANCER/PERFORMER AND CHOREOGRAPHER .OVER A SIX MONTH PERIOD, I HAVE BENEFITED FROM THE INPUT OF A DANCE MENTOR, UNDERTAKENRESEARCH AND DEVELOPMENT TO UNDERPIN THE CREATION OF A SOLO DANCE WORK AND HAVE BEGUN THEPROCESS OF CREATING A FULL LENGTH PERFORMANCE.

‘PROVOKINGPRELUDE’

I dec ided that what I needed most was thedevelopment of a websi te , computer equipment andbusiness cards. My websi te , though not f in ished,has a l ready generated interest . I d ist r ibuted mybusiness cards to product ion companies, theatrecompanies and the Arts Counci l i tse l f .

I began an advanced explorat ion of costume design,part icu lar ly into mi l i tary garment construct ion,d isguis ing techniques and co lour. I a t tended thePol ice Serv ice of Northern I re land uni form storesand was g iven a peek into what goes into theconstruct ion and the controvers ia l des ign of thenew uni forms. The funding enabled me to begin abody of work based on how one c lothes the body forcombat . Th is was an inva luable exper ience. I sha l lcont inue my research in th is area.

Dur ing th is research, I wasinv i ted a long to an interv iewwith Besom Product ions andwas of fered the job as Head ofCostume on a ch i ldren’s dramafor Channel 4 . The researchdef in i te ly gave me the edgeover the other appl icants .

Current ly, I am work ing on apro ject with Newry & MourneDist r ict Counci l , thanks to arefer ra l f rom the Arts Counci l .I am developing and des igning alook for a large product ion ofmore than 80 music ians anddancers. I am a lso cont inu ingwork on my websi te andport fo l io and wi l l be ab le to

f in ish the s i te on receipt o f the f ina l par t o f myaward f rom the Counci l .

The cha l lenge of my award was to at tempt tosusta in work in the ar ts , to make my workaccessib le with my websi te and to produce h igh-qual i ty costume. I be l ieve that I am on the roadto achiev ing my goal . My a im for next year is tobe employed on a feature f i lm, to have anexcel lent port fo l io and a good advancement of myski l ls and expert ise.

‘KITH & KILN’

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AN ARTS COUNCIL GRANT,WHICH I RECEIVED DURING2002, SUPPORTED THEPRODUCTION OF A NEWBODY OF WORK FOREXHIBIT ION AT THE LAOISARTS FESTIVAL INPORTLAOISE , RUNNINGFROM 24TH - 30TH OCTOBERTHIS YEAR. I HAVE ALSOUSED THE AWARD TOCONSOLIDATE A LARGERBODY OF WORK, WHICH IAIM TO EXHIBIT OVER THENEXT YEAR.

THE WORK THAT I HAVEDEVELOPED DURING THEYEAR HAS HELPED TO RAISEMY PROFILE CONSIDERABLY,WITH REVIEWS IN THE IRISHTIMES AND ART FORUMMAGAZINE . THIS HASPROVIDED ME WITH ANOPPORTUNITY TO REACH AWIDER AUDIENCE , NOT ONLYLOCALLY BUTINTERNATIONALLY, THROUGHTHE ART FORUM REVIEW.

THE AWARD ALSO ALLOWEDME TO EXPAND MY ARTISTICPRACTICE THROUGH THEUSE OF BETTER QUALITYMATERIALS ANDPHOTOGRAPHICDOCUMENTATION. I HAVECONTINUED TO DEVELOPMY PAINTING, PRODUCINGBOTH LARGE ANDSMALL-SCALE WORKSWHICH CONTINUE TOEXPLORE WESTERN ANDORIENTAL METHODS OFREPRESENTATION AND THEROLE AND FUNCTION OFLANDSCAPE .

MY AWARD WAS EXCLUSIVELY DIRECTEDTOWARDS THE PURCHASE OF ANEVENHEAT 13 AMP KILN EQUIPPED WITHA BENTRUPP 60/8 MICROPROCESSOR.THIS KILN MAY BE SMALL , BUT ITCERTAINLY MAKES UP FOR THIS BY ITSVERSATIL ITY. AS A TOP-FIRING KILN, THE‘PROGRAMMES’ WERE CONSISTENT ANDWITH THE ADDITION OF THEMICROPROCESSOR, ACCURATELYREPEATABLE .

WITHOUT THE AWARD THIS RESEARCHCOULD NOT HAVE TAKEN PLACE .COMBINING PRECIOUS METALS ANDGLASS IS DEPENDENT UPON AN IN-DEPTH

KNOWLEDGE OF ALL ELEMENTS INVOLVED.THE AWARD GAVE ME THE INIT IALRESEARCH AND I HOPETO ADD TO IT OVER THEYEARS AND POSSIBLY‘WRITE UP ’ MYFINDINGS AS A CD-ROMSO THE KNOWLEDGE CAN BE ACCESSED.

WITH SYSTEMATIC PREPARATION AND ASOUND TECHNICAL KNOWLEDGE OF SODA-LIME GLASS, IT IS POSSIBLE AND I FEELDESIRABLE TO CONSISTENTLY FUSEGLASS TOGETHER WITH PRECIOUS METALCLAYS, SUCH AS GOLD AND SILVER , TOCREATE ORIGINAL WORKS OF ART.

DARREN MURRAY

COSTUME DESIGNER

GLASS MAKER

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LISA LAVERY

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SONIA BUTTERWORTHMUSICIAN

In March 2002, I app l ied for a £3,000 Art Award f rom theArts Counci l to fund the record ing of an a lbum.I received £1,000 to he lp with the overa l l product ion ofthe new a lbum. There are so many areas of expense -equipment , s tud io t ime, ar twork, photography,product ion, engineer ing, CD master ingetc. rather than sp l i t a b i t here and there,I decided to put the grant towards thef ina l product , which is the master ingand press ing, so that a good qua l i tyreproduct ion of the sound I hadrecorded in the studio wasassured. I t was the bestdecis ion as I was a l readyhappy with the record ingprocess and the mostimportant th ing was thef ina l press ing.

I t took s ix months to recordthe 11 t racks, a l l o f which Iwrote the music for, and i ttook about s ix weeks ofback and for th ar tworksketches and re -mix ing toget the f ina l pressed copy.Once the f ina l copy waspressed, I cou ld then goahead and press 500copies, a l l sounding asgood as the f i rs t .

The a lbum wi l l bere leased and promoted inthe New Year in loca lshops and rad io and a lsoover the internet .The f i rs t t rack, BlackKnight , has been usedfor a short f i lm on UTV.

I p lan to star t record ingagain af ter Chr istmasand I now th ink I wi l lbe studying music at adeeper leve l at Queen’sUnivers i ty, Be l fast , nextyear. Th is wi l l g ive me agreater understanding andknowledge of music and wi l la l low me one day to teach i t ,which I am very keen to do.

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‘BLACK KNIGHT’

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AIMNÍN SCULPTOR

‘CASTING THEHONEYCOMB’

PACTOLUS

A PIECE OF HONEYCOMB CAST IN GOLD, SHOWN INTHE ULSTER BANK, SHAFTESBURY SQUARE , BELFAST,BETWEEN APRIL AND MAY 2003, AS PART OF THEGOLDEN MILE PROJECT BY FULLY FORMED ART PROJECTS.

THE ACTUAL PRODUCTION OF THE SMALL SCULPTURECOMPRISED THE LARGEST EXPENSE INCURRED, THEGOLD BEING THE SINGLE GREATEST EXPENSE . THEPROCESS OF CASTING, UNDERTAKEN BY GOLDSMITHDANIEL SPENCER, PROVED MORE LABOUR INTENSIVETHAN INIT IALLY FORECAST, THEREFORE LESS GOLD WASUSED (THE WORK BEING PARTIALLY HOLLOW) TO COVERTHE GREATER LABOUR COSTS.

THE ORIGINAL HONEYCOMB USED FOR THE WORK WASSOURCED IN LONDON. IT WAS ESSENTIAL THAT THEHONEYCOMB WOULD BE CHOSEN PERSONALLY, SO THEFINAL WORK WOULD HAVE THE BEST VISUAL IMPACTTHAT COULD BE ACHIEVED.

THERE WERE NUMEROUS JOURNEYS TO GLENARM INCOUNTY ANTRIM, WHERE THE CASTING WAS MADEFROM THE HONEYCOMB ORIGINAL . IT WAS NECESSARYTO OVERSEE ANY PARTS OF THE PROCESS WHEREAESTHETIC DECISIONS MIGHT BE TAKEN. IN ADDITION,THE TECHNICAL PROCESSES WERE EXTENSIVELYDOCUMENTED ON DIGITAL VIDEO, WHICH WILL BEARCHIVED AND MAY BE USED IN FUTURE AS A FILM INITS OWN RIGHT OR AS PART OF A PUBLICATION.

FEEDBACK ON THE WORK HAS BEEN POSITIVE .

MANAGEMENT WAS THE KEY TO THE SUCCESS OF THEPROJECT. THIS WAS DUE TO MY RESPONSIBIL IT IES ATCATALYST ARTS, WHERE I WAS ORGANIZING A SERIESOF EVENTS CONCURRENTLY WITH PRODUCING THEPACTOLUS WORK. ENSURING THAT THE BEST PERSONWAS SECURED TO MAKE THE WORK PHYSICALLY ANDALL THE REQUISITE INGREDIENTS TO HAND ALLOWEDTHE PIECE TO BE PRODUCED ON TIME TO ANACCEPTABLY PROFESSIONAL STANDARD. THEREFORE ,SKILLS DEVELOPMENT WAS PARTLY OF A TECHNICALNATURE , DUE TO DOCUMENTING THE PROCESSES ANDOBSERVING THEM, BUT MAINLY ORGANIZATIONAL .

THE ORIGINAL AIMS WERE SATISFACTORILY ACHIEVED,WHICH WAS TO PRODUCE A WORK THAT WOULDEXEMPLIFY MATERIAL QUALITY AS WELL ASCONCEPTUAL INTEGRITY. IT WAS INTENDED THAT APROFESSIONAL PIECE OF WORK WOULD BE PRODUCEDTHAT CAN BE EXHIBITED AGAIN AT A LATER STAGE INMY CAREER , WHICH I BELIEVE HAS BEEN ACHIEVED.

THE WORK CAN BE LOCATED AS ATTEMPTING TOASSERT AND ILLUSTRATE THE QUALITY AND INTEGRITYOF CONTEMPORARY VISUAL ART BEING MADE INBELFAST CURRENTLY, THIS BEING EMPHASIZED BY ITSLOCATION IN A BANK ON THE SO-CALLED ‘GOLDEN MILE’IN BELFAST AS PART OF A SITE-SPECIFIC GROUP SHOWOF LOCAL ARTISTS. IN THE ASSUMPTION OF QUALITY,HOWEVER, THE LOCAL AND THE SPECIFIC ARE A SUBSETMANIFESTATION IN MATERIAL RELATIONS AND MYTHICCURRENCIES. THEREFORE THE WORK MOVES BETWEEN.

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ARTICLE [A R T S C O U N C I L O F N O R T H E R N I R E L A N D S U P P O R T F O R T H E I N D I V I D U A L A R T I S T P R O G R A M M E ] ARTICLE [A R T S C O U N C I L O F N O R T H E R N I R E L A N D S U P P O R T F O R T H E I N D I V I D U A L A R T I S T P R O G R A M M E ]

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SI

AP

RICHARDLIVINGSTONE

PAINTER

NAILS, TAPE, GLUE & PAINT

PATRICIA BYRNEPLAYWRIGHT

‘DON’T SAYA WORD’

The General Arts Award of £1750which I received as coststowards the research and writingof a one-hour play on the themeof domestic violence has been ofgreat benefit to the project.

I had meetings with FoyleWomen’s Aid and the ProbationBoard of Northern Ireland (PBNI);both agreed to support theproject in terms of consultationon the script, setting upinterviews, use of their logos onpublicity and stating theirsupport in funding applications.

I interviewed Margaret Gallagherand Bridie Crowley of Women’sAid on their work and casehistories of women who haveexperienced domestic violence.Women’s Aid run trainingprogrammes with social workersand the police. I sat in on one of

their training sessions withsocial workers. Women’s Aidalso run a programme calledJourney to Freedom which is aneducational course for womenmoving out of a situation ofdomestic violence. I interviewedthree women who have beenthrough this programme.I had a meeting with TerryDoherty of PBNI. He manages theMen Overcoming DomesticViolence (MODV) programmewhich is run by the FamilySupport Team. The ProbationBoard refers men who havebeen violent to their partnersonto this programme.He explained how the programmeworks and what types of menmay be on the programme.

I then met Eamon McFadden andChristine Quigley who run theMODV programme at the Family

Support Team. They explained inmore detail the themes theyexplore on the programme, howthe men respond to theprogramme and how successfulit is. Often partners in violentrelationships wil l be on theJourney to Freedom and MODVprogrammes at the same time.

I interviewed one man who hadbeen through the MODVprogramme. This allowed me togain some understanding of thereasons why a man may beviolent in a relationship, e.g.what the personal backgroundand the sociological influenceson the male partner ’s behaviourmight be.

I had meetings with ShaunaKelpie (who will direct the play)and Jonathan Burgess (theproduction manager). Both are

very interested in the project andare looking forward to theproduction. I also met up withpeople from the Nerve Centre todiscuss the mechanics andpricing of using screen imagesduring the performance.

In January this year, I spent aweek at the Tyrone GuthrieCentre. Having focused time insuch beautiful surroundings wasvery beneficial to the writing ofthe piece. The production hasbeen put back to January 2004. Ireceived some funding from theEsme Fairburn Trust due to theaward from the Arts Council.

At an International Women’s Dayevent this year, I performed aten-minute piece on the work ofWomen’s Aid and received a verypositive response.

TRAVEL AWARDS SCHEME

VALUE : Amount of award wi l l vary depending on the dest inat ion.

DEADLINE : The Trave l Awards scheme is admin istered on a ‘ro l l ing bas is ’

INTERNATIONAL ARTISTS’ PROFILE SCHEME

VALUE : Specia l is t adv ice and support in creat ing internat iona l market ing mater ia l for ind iv idua l ar t is ts ’ prof i l ing

DEADLINE : Thursday, 2 September 2004, 4pm

SELF-ARRANGED INTERNATIONAL RESIDENCIES

VALUE : Up to £5,000

DEADLINES : Thursday, 4 March 2004, 4pm Thursday, 2 September 2004, 4pm

THE MACDOWELL COLONY RESIDENCY

VALUE : £5,000

DEADLINES : Thursday, 15 January 2004 for res idencies May - August 2004 Thursday, 15 Apr i l 2004 for res idencies September - December 2004 Thursday, 2 September 2004 for res idencies January - Apr i l 2005

THE BANFF RESIDENCY IN THE LEIGHTON STUDIOS

VALUE : £5,000

DEADLINE : Thursday, 4 March 2004, 4pm

THE SKIDMORE JAZZ STUDENTSHIP

VALUE : Covers t rave l , course and res ident ia l fees.

DEADLINE : Thursday, 4 March 2004, 4pm

ACNI COLLECTION ACQUISITIONS:OPEN SUBMISSION

Submiss ion Date: Monday, 8 March 2004

ARTS COUNCIL OF NORTHERN IRELAND SUPPORT FOR THE INDIVIDUAL ARTIST PROGRAMME 2004-2005 THE ARTS COUNCIL OF NORTHERN IRELAND, IN ITS STRATEGY DOCUMENT, HAS A GIVEN PRIORITY TO “RAISETHE STATUS OF ARTISTS IN ALL DISCIPLINES AND IN ALL TYPES OF WORKING PRACTICE IN NORTHERNIRELAND.” THE FOLLOWING SCHEMES ARE AVAILABLE TO SUPPORT THE INDIVIDUAL ARTIST.

GENERAL ART AWARDS SCHEME

VALUE : Awards of up to £5,000

DEADLINE : Thursday, 4 March 2004, 4pm

ARTISTS IN THE COMMUNITY SCHEME

VALUE : 5 awards of £10,000 each

DEADLINE : Thursday, 6 May 2004, 4pm

MAJOR INDIVIDUAL AWARDS SCHEME

VALUE : 3 awards of £15,000 each

DEADLINE : Thursday, 10 June 2004, 4pm

YOUNG ARTISTS’ PLATFORM( in associat ion wi th BBC Northern I re land)

VALUE: Awards of up to £4,000 and performing opportunities

DEADLINE : To be conf i rmed

THE ARTS & DISABILITY AWARDS IRELAND

VALUE : Up to £5,000

DEADLINES : Wednesday, 2 June 2004 Thursday, 2 December 2004

DETAILS FROM:The Arts and Disabi l i ty Forum, Cathedra l Quarter, 109-113 Royal Avenue, BELFAST BT1 1FF

ARTS AND ARTISTS ABROAD SCHEME

VALUE : Contr ibut ion towards tour ing costs of per formance, exhib i t ion and presentat ion of Northern I r ish ar ts abroad.

DEADLINES : Thursday, 4 March 2004, 4pm Thursday, 10 June 2004, 4pm Thursday, 7 October 2004, 4pm Thursday, 9 December 2004, 4pm

ARTS AND DISABILITY NETWORKING ABROAD SCHEME

VALUE : Contr ibut ion towards tour ing costs of per formance, exhib i t ion, presentat ion of Northern I r ish ar ts abroad and towards network ing costs , in connect ion with ar ts and d isabi l i ty.

DEADLINES : Thursday, 4 March 2004, 4pm Thursday, 10 June 2004, 4pm Thursday, 7 October 2004, 4pm Thursday, 9 December 2004,4 pm

I RECEIVED A GRANT OF £1,000 FROM THE ARTS COUNCIL .THE MONEY WAS USED MAINLY TOWARDS AN EXHIBIT ION INTHE HALLWARD GALLERY IN DUBLIN.

THE MONEY WAS SPENT ON STRETCHERS, DRY MOUNTINGAND FRAMING. I ALSO BOUGHT GLASS, NAILS, TAPE , GLUEAND PAINT FOR COLOURING THE FRAMES. AS A RESULT OFTHE HALLWARD SHOW, I WAS INVITED TO REPRESENTIRELAND IN THE EURO CELTIC ARTS FESTIVAL IN LORIENT,FRANCE , DURING AUGUST 2001.

SOME ARTS COUNCIL MONEY WAS USED FOR THIS PURPOSE .IN 2001 AND 2002, I ALSO EXHIBITED WITH THE MCGILLOWAYGALLERY IN DERRY AND WAS ABLE TO DRAW ON ARTSCOUNCIL SUPPORT FOR THIS ALSO.

WITHOUT THIS SUPPORT I WOULD HAVE BEEN UNABLE TOUNDERTAKE THESE COMMITMENTS.