As soon as it was moonlight and that poor thing began to crawl and shake the pattern, I got up and ran to help her. I pulled and she shook, I shook and she pulled, and before morning we had peeled off yards of that paper. A strip about as high as my head and half around the room…[i]
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I know a small lake that sails the palest shadows,
Trailing their frail keels along its waveless sand;
And when isles of grey turf are sunning in its shallows
The far hill is a blue ghost on that land [i]
‘Derek Jarman: PROTEST!’, Irish Museum of Modern Art Dublin (15 November 2019 to 23 April 2020)
‘The Last of England’, Void Derry (15 November 2019 to 18 January 2020)
Indexical Variation – A concise but expandable compendium to encountering the artworks of Jeff Gibbons.
The Physicality of Looking
JOANNE LAWS INTERVIEWS THREE ARTISTS ABOUT THEIR DIVERSE PHOTOGRAPHIC PRACTICES. Read more…
Joanne Laws: The most immediately striking aspect across your films is the tension between interior and exterior realms. Vast, timeless, almost biblical landscapes are contrasted with abandoned domestic spaces that have somehow been taken over by nature. Are these barren landscapes a metaphor for human struggle?
Time and Time Again
JOANNE LAWS INTERVIEWS KEVIN ATHERTON, FRANCES HEGARTY AND ANDREW STONES ABOUT THE EVOLUTION OF THEIR FILMMAKING PRACTICES. Read more…
As demonstrated through extensive research by ethnomusicologists, music and song have historically been integral to the choreography of work. Providing an aural backdrop for the expression of labouring bodies, work songs broadly falling into two categories, pertaining to both manual and mechanised labour.
Joanne Laws 