I am angry. I am still angry with my big sister for dying on me. As I embark on this project I am once again angry and helpless, the way I felt when she whispered ‘help me’ , her final words to me from her deathbed. This exhibition is a reified representation of my witchy big sister’s little apartment in Yarraville Melbourne the day she died in 2004. I don't remember it much. There are little details that stick in my mind - bits and pieces of a sparsely populated migrant’s bedsit living on the breadline away from her family and from care and love. Even before my sister got sick and left home for a better life in Australia, she wielded generous healing magic. Living away from her family she escaped the brutal actuality of migrant lives through her magic. She braved the trauma and the many challenges of her new life through her magic. When cancer arrived in 2004, she turned to magic to find the resources for coping with a seemingly endless cycle of hurt. As her bod
Belfast was my home for 13 years during the height of the Troubles. I returned to Ireland in 2013 and have lived and worked in Dublin since, bearing witness to Ireland's "Decade of Centenaries'. In the past five years I have had the firsthand opportunity to query, especially through the photographic image, the act of commemoration with an interest in the problems of commemorating the 1916 Easter Rising in the North. My art practice today is dedicated to the vulnerability of the body and its pain, hidden behind the gestures and movements of worship. This is my starting point in the investigation into how the body unfolds in the acts of commemoration. I stipulate that commemoration and worship share many similar characteristics and one can be investigated by looking at the other. Thus the rhythms, gestures and movements of worship become the lens through which I look at the issues of commemoration. Instead of as a memento or a document, I use the photographic image p