The deterioration of a mind.
A visual response on the descent of a transient relationship through representational processes.
I decontextualize, then I reconstruct. Dissecting and looking past the obvious, close observation of the subject. I work on small scale because I believe it allows a more intimate, delicate connection with the piece while still allowing the viewer a broad exploration into the individual reality of each work.
I attempted to give up everything I loved that did not love me back. But now, I analyse and I make. Using first and second-hand experiences of toxic behaviour within a relationship as the subject matter while extracting the essence and feeling involved in those experiences through a trail and error process of stitching techniques to create an atmosphere within each piece that will push the audience to hopefully question and explore the meaning behind every action taken within their own relationship. Any relationship.
Within the range of small works, I have a variety of muted, pared-down pieces as well as over-worked, heavily-stitched pieces. The range of stitch techniques and styles are relevant to the depth and complexity of relationships.
Rachel is a contemporary artist living and working near Belfast, Northern Ireland. She is currently in her final year at the Ulster University, Belfast studying fine art, painting. Rachel focuses on both the human form and the affect humans have on the environment.
She explores the human mind-set where we think we know everything when, in fact, sometimes nature knows more.
No matter where you live, the day-to-day human struggles remain the same. We give ourselves a very hard time, going over things in our heads, things we should have said, done, or just feeling like the world is against us. We are our own worst enemies. This body of work looks deep into our souls and explores the emotions we have, both of ecstasy and despair.
Nathalie Caleyron Donnelly is originally from France but has lived in North Belfast for most of her life. She discovered printmaking through a workshop in Seacourt Print Workshop (Bangor) 5 years ago.
It was a ‘love at first sight’ experience and she has been involved in printmaking and in Seacourt since.
Her prints are mostly multiplate lino, often with an element of monoprinting, giving a uniqueness to each single hand pulled print within the same edition.
My prints tend to centre around my « happy places ». The safe havens you go to to when you close your eyes and take a deep breath; little gems that feed the soul and take you away from the oppressing reality of our burning planet, crumbling NHS and overall scary politics.
They are special places, friends, cherished memories; ‘selfies’ in my favourite cafés where I can doodle surrounded by beautiful objects, views, atmosphere and indulge my coffee addiction.
The Black box, Green Room. Lino and monoprint. / 50 edition. June 2019