December 2013 – January 2014
(initially called ‘Stalking an Ungrounded Earth’, a larger project currently in progress)
Images of ‘rogue occupation’ on site and details of a forthcoming publication from the project will be uploaded soon.
Initial statement of intent –
Stalking an Ungrounded Earth is emerging through a process by which research, art work and documentation are coiling in and out of each other. The extension of the process into the site at Harcourt Road No 24 will not be site specific so much as an occupation of the site through time and space marked by activities on the site’s surface. Over two months objects will come and go, move around, deflate, be perforated… The process will lead towards a cacophonic event where the activities that have happened resurface in a condensed swarm of implosions and explosions; an evacuation leaving empty shells within an empty shell; remains that will gradually remain less.
The manual being followed through the process is Ben Woodard’s recent puzzle box of a book On an Ungrounded Earth. The deeper one digs into a text the more chance of slipping along digressive paths, getting spun into whirlpools or falling down pot holes. While I repeatedly reground myself in the manual, the manual repeatedly ungrounds itself. Furthermore, as Woodard points out, there is always the possibility the manual is being misread.
Images from the site can currently be found here.
NB Due to an unexpected quantity of material to work with on this project the plan has slightly changed allowing it to be drawn out fully. Details coming soon.
One material edges its way across another and into the cracks of the other’s material deterioration. There is something simultaneously morbid and beautiful about the process that has taken place. The forces of use value have subsided highlighting the realities of material existence; a reality irreverently ignorant to the signs of human possession and production.
– note from before the clearing of Harcourt Road No 24
The site where the living and the dead had embraced, where creepers crawled and coiled, is stripped. A clear clearing has been made. There is nothing to see as everything is seen; a horizontally transparent fenced off space. Yet no surface can sustain the permanence of the statement. Every island has latent volcanos and no shoreline is free from erosion.
– note from after the clearing of Harcourt Road No 24
Teresa Gillespie uses mixed media to create installations that are often dense and intimate. Upcoming projects include a response to the work of William Beeren for On Curating Histories curated by Kate Strain and Invasion of Irrational Existence, a solo project for the Wexford Arts Centre. Recent solo shows include: inside an outside (tracing the shadows of a strange attractor) at Residencia Corazon, Buenos Aires; along the borderland bends at The Return Gallery, Dublin; too old to be playing house at the showreelproject, Milan and p.s. I love you Yassin at the Atelierfrankfurt, Frankfurt. She has exhibited in group shows internationally and undertaken numerous artist’s residencies including the Frankfurter Kunstverein Deutsche Borse Program. Alongside her own practice she co-curated a seminar/exhibition, Portrait of Space, with Rose Lejeune in 2011 and (((O))) with Lee Welch in 2013, both at Clonlea Studios. Teresa is a graduate of the Glasgow School of Art and the Royal College of Art, London.