Broadly, a theme of landscape constitutes the works of these four artists within the exhibition, literally or implied. Belfast born Caroline Fellowes, now a resident of France, documents the floor beneath her feet. She writes “The floor upon which I have lived for a long time – the ground upon which I pace, where the footfalls fall. It is breaking up and the marks of disintegration are recorded. Augmented aerial shots of the cement and concrete appear to reveal a curiously familiar cosmos. The stains and fissures may delineate territory and borders. But these are abstract images and any resemblance to planets, politics, myths or contemporary surveillance maps is purely co-incidental”
Dragana Jurisic’s photographs of Paris form part of her ‘My Own Unknown’ series, a multipart ongoing investigation into identity and gender, partly driven by her search for information about a mysterious Aunt who left Yugoslavia in the 50’s and lived in Paris. Jurisic writes “I was hitting against the walls trying to be a detective. Walking around endlessly with my black book pompously titled ‘My River of Evidence’—there was hardly any evidence in there— just pretty pictures of Paris. A lot of ‘?’ too."
Amelia Stein presents a single shot of ‘Sheep Wire II”. Taken this year in Northwest County Mayo, an area that Stein has explored and inhabited for more than a decade, the man-made wire coils with the natural world, evoking all the historical raw isolation that only this Hibernian shelf can conjure.
Paul Gaffney’s Perigee photographs explore a dark world illuminated by moonlight only. Eugene Shinkle writes “Drawn with light that is barely perceptible to the eye, Gaffney’s photographs emerge out of intuition, coincidence, and an underlying longing for connection and stillness. And although it’s tempting to call them landscapes, they are created through different ways of knowing a place – ways that acknowledge the moving, feeling body, rather than the distanced and distancing eye, as the foundation of our experience”.