![]() Sized up, using sandstone and quartz the ring also maps the cardinal directions as well as Orion's belt, Bellatrix and Betelgeuse, Rigel and Saiph. Placed where a stream meets the sea, this intervention took inspiration from the Neolithic cup and ring motif found on rocks around the peninsula. Cup and Map, by Mark Cullen, Eve Woods, Ellen Wallace, Bernie Coulhoun on Toor Beach I used stones found on the rocks and positioned them to follow the line and structure of nature.ģ. Etymology of the term Kulaf comes from the Dalmatian coast of Dugi otok and it is a term describing the open sea of the Adriatic (kulaf=gulf). Spatial intervention was created on the Atlantic coast. Kulaf, spatial intervention by Josip Zanki Utilising quartz markings on stone to draw an artificial tideline, covering 200m of beach reaching from castle ruins towards the Abbey. Noelle Campbell Sharp and the Cill Rialaig Project for hosting and welcoming us to the Iveragh Peninsula. The project is curated by Mark Cullen & and administrated by Eve Woods.Ī special thanks to Dr. We welcomes from Austria curator and artist Luise Kloos with artists Gerlinde Thuma, Silvia Maria Grossmann, arts manager Tanja Gurke and art historian Marie Maierhofer from Croatia curator and artist Josip Zanki with artists Laura Stojkoski, Ivan Fijolic, Dorian Pacak and anthropologist Nikolina Durutt alongside Irish artists Bernie Colhoun and Ellen-Rose Wallace. Presentations from Aoibheann Lambe a local archaeologist with a speciality in the Iveragh Peninsula, and curators from each region will be supplemented by visits to Skellig Michel, ancient clocháin - beehive huts in Glenfahan on Slea Head, Loher Stone Fort and Beach, and Valencia Island. This symposium will foreground studio activity, reflection and group work alongside exploration in the open landscape. The combination of stone, sea and artistic retreat resonates with the ancient practices associated with the drystone beehive huts that were built in the region for meditation and reflection on the expanse of the Atlantic Ocean. This pre-famine village (c.1790) set high on a cliff at the very edge of Western Europe has been rescused and rehabilitated as the perfect retreat for artists, poets, writers, film makers and composers of national and international repute. ![]() Noelle Campbell Sharp and the Cill Rialaig Project. We are delighted to welcome artists to the Cill Rialaig village at the generosity of Dr. This residency at the Cill Rialaig Artist Village is one section of a multi-part project which began as 'Stone Walls' led by Josip Zanki, exploring dry wall stone techniques as a tool for artistic expression and site-specific practice at Kožino, Privlaka, National Park Paklenica, Velebit Mountain, Fortica at the Island of Pag, Paška Vrata, Croatia in 2021 and continued as 'Wood and Stone', led by Luise Kloos, which extended the materiality of the project to include an exploration of natural materials, interventions, sited objects and performances in the natural environment of Grafenbergalm, Styrian Alps, Austria in 2022. It is mounted and framed in German silver metal.06/07/23-18/07/23 Staring at the Sea: Land art and reflection symposiumĦth-18th July 2023, Cill Rialaig Artists Village & Iveragh Peninsula, County KerryĪs part of Pallas Projects' ongoing international exchanges with artists and curators in Croatia and Austria we are happy to present Staring at the Sea. Refer to one of the included images to see examples of the variations in blue and deckled edges. Unique features Please note that due to the cyanotype process, there may be slight undulations in the paper and each piece features a unique blue ranging from cyan to indigo to Prussian blue. A moment of calm during the uncertain times around us. My hope is that when people experience this collection, they feel an immediate sense of connection and grounding with Nature. I'm collaborating with Nature to create art about Nature. It’s intriguing to me that the subject matter, the paper substrate, and even the piece itself uses Nature as an integral part of its creation process. Each piece is made on thick, bright white, Arches watercolor paper with deckled edges. In addition to the outdoor elements required for cyanotype creation, I use plants, collage, and sometimes ink and acrylic to create each piece. To me, this is part of the mystery of this art form. Since this process is so dependent on the weather, light conditions, seasons, and timing, there is an unpredictable nature to the outcome of each piece that can’t be replicated. About My Process Cyanotypes are a photographic process that use a UV-sensitive emulsion that reacts with the sun to create ethereal images in blue and white. Reminiscent of plants floating on the water's surface, this abstract piece brings the Natural World indoors with a striking arrangement of botanicals in shades of turquoise and white.
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