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Niamh O’Malley

Associate Member

My work stems from an ongoing investigation in my practice into the representation of nature through the culturally constructed idea of landscape. My understanding of landscape is that of a mode of perception or representation which describes the natural environment that the eye can perceive in a single view.

While nature envelops a broad concept of that which is not man-made, landscape intimates a nature perceived, framed and ultimately represented. If representation by its very nature can be said to fail to reproduce reality exactly, it can also be understood as always conveying more than it intends.

A practice which excepts and understands the limitations of it’s imagery has the potential to comment knowingly on the excess meaning conveyed by representation and through this excess, shed light on our understanding of landscape.

In my work there is often a double framing, in other words a marked and intended reproduction of the real production, an acknowledged representation of a representation. My work also proposes discussions on the physical positioning of the viewer as they employ a particular mode of appreciation. The works hope to activate a kind of inherent action and positioning in the viewer. They also investigate the difficulties of viewing, how does one go about the act of viewing and whether any attempt at a deliberate, knowing, appreciation negates the authentic experience.

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Education

  • 2000 ongoing
    • PhD, split theoretical and studio research, University of Ulster at Belfast
  • 1993-96
    • B.A. Hons. Combined Studies in Art and Design, University of Ulster at Belfast

Current Research

Ongoing PhD research as outlined below, (see Description of Fine Art Practice)

Fine Art Practice

My practice is an ongoing investigation into the representation of nature through the culturally constructed idea of landscape. My understanding of landscape is that of a mode of perception or representation which describes the natural environment that the eye can perceive in a single view. I hope to propose discussions on the physical positioning of the viewer as they employ a particular ‘mode of appreciation’.

The works hope to activate a kind of inherent action and positioning in the viewer. They also investigate difficulties in viewing, questioning how one goes about the act of viewing, and whether any attempt at a deliberate, knowing appreciation negates the authentic experience. My work also attempts an interruption of any belief or authenticity in representative imagery.

Indicative Publications

  • 2002
    • July Open House, Catalogue, Casino Luxembourg, Maria Hiavajova
  • 2001
    • December Smart Project Papers, Catalogue, Mark Kremer
    • June CIRCA, Belfast Review, Suzanna Chan
  • 2000
    • July ‘Rosa’, Catalogue Essay, Pino Casagrande Gallery, Valentina Bruschi

Other e.g., Curation

  • 1996-98
    • Management Committee of Catalyst Arts, artist run gallery, Belfast

Selected Exhibitions

  • 2002
    • July Open House, Casino Luxembourg, Forum D’Art Contemporain, Luxembourg (www.casino-luxembourg. lu)
    • April Strictly Personnel, Engine Room Gallery, Belfast
  • 2001
    • December Hohere Wesen Befahien: Anders Malen, Smart Project Space, Amsterdam (www.smartprojectspace. net)
    • September Claremorris Open Exhibition, 2001, selector Lewis Biggs
    • March On a Clear Day, Ormeau Baths Gallery, Belfast, (solo)
  • 2000
    • September Stardust, Context Gallery, Deny
    • October International Exhibition, Rialto Occupato, AI’Sant Ambrogo, Rome
    • July Rosa, Niamh O’MaIIey, Rose Frain, Kit Wise, Pino Casagrande Gallery, Rome
    • May Villa Crispi, Naples, Group Show
    • May The British School at Rome, Catalogue and Exhibition
    • February Emporio Maraini, Grande Mercato D’arte, Swiss Acadamy, Rome
  • I999
    • September Niamh O’Malley, Eamon O’Kane, Joanna Fursman, Context Gallery, Deny
    • September Claremorris Open Exhibition, Claremorris Public Library, Co Mayo
    • August Horsehead International Sculpture Project, site specific works, Belfast
    • June Convergence II, Permanent Public Art Commission, The Granary, Waterford
    • May EV+A Exhibition of Visual+Art, Limerick City Hall
  • I998
    • May Glimpse, group drawing show, touring, Queen St. Studios, Belfast
    • September Forty Shades & Notions, Exchange exhibition, Kingston, New York With accompanying multiple artworks
    • July NI Gulp, Theo Sims, Peter Richards, Amanda Dunsmore, Niamh O’Malley, Plug-In Gallery, Winnipeg, Canada
    • June Art from Belfast, four person exhibition, Idao Gallery, Chicago
    • May Voice/Over, Catalyst Arts residency at IMMA, Dublin, group project
  • I997
    • June Catalyst Arts, installation and performance at the Art Exchange Show, New York Alternative Art fair
    • January Selected exhibition of Irish/Scottish art in the Art Club Burgwedel e.V, Hannover, Germany
    • January Directors Show, Catalyst Arts, Belfast
  • I996
    • October Art Site, artists billboard project for the Belfast Festival at Queens
    • October Splatter, Haunted House exhibition, Crawfordsburn, Co. Down
    • September Mapping Space, exhibition of paintings, Foxford Exhibition Centre, Co. Mayo (solo)

 

Niamh O’Malley

e-mail: niamhomalley@hotmail.com

© Copyright Leeds 2017