Seán O Sullivan is a writer and curator whose work focuses on the politics and preservation of localities. He has curated projects and written critical texts dealing with subjects such as architecture, ecology and the bonds between people and places. He is a former chair of Black Church Print Studio, Dublin. He holds an MA in Curation and a BA in Fine Art from IADT, Dún Laoghaire. He is currently Visual Arts Adviser to the Arts Council of Ireland / An Comhairle Ealaíon.
This page: Information on a companion publication for Colin Martin’s exhibition ‘The Garden’, which exhibited at Broadcast Gallery, Dublin in June 2012.
6th –20th Jun 2012
This publication was presented alongside Colin Martin’s exhibition The Garden at Broadcast Gallery, it included essays by Alice Butler, John Graham, Maximilian Le Cain and Fiona Woods. It comprised four folded sheets, with each one having its own essay. It was printed in an edition of 200 copies. The four essays were separately presented in the gallery’s corridor as a series of A0-sized layouts. The Garden was curated by Kate Strain.
The exhibition included a public discussion at Dublin Institute of Technology on 7 June. It featured Colin Martin, Kate Strain, Alice Butler, John Graham, Maximilian Le Cain and was chaired by Seán O Sullivan.
From the Press Release:
The Garden consists of a four-channel film installation by Colin Martin. Each of the four screens use a different cinematic language to describe the subject – a film production set in a walled garden at night – a paradisical space that is both natural and cultural. It begins with a slow long take that moves continuously through the constructed environment, alternately the other screens look at the same space through varying cinematic languages using close ups, focus pulls and montage. Four creative practitioners; Alice Butler, John Graham, Maximilian Le Cain and Fiona Woods, have been invited to respond with text-based contributions to Martin's work and the circumstances of its exhibition. This textual platform investigates the work from four different perspectives, mirroring the concerns of the work itself, and in doing so, opening questions around the nature of representation, experience and display.