Trying to connect Ireland and India has been a major concern in my work, as I have lived in both countries for the last 7 yrs.
My concerns are to do with spirituality and landscape.
I have collabaorated with traditional Irish musicians, in the past, and was delighted to know that Sean O’Rioda, the Irish composer, said that the way to understand both Irish and Indian music was the same - through the heart.
Poetry has been a major concern of mine and I have collaborated with the Indian poet Sudeep Sen. Again it was the spirituality and sensousness in his work that attracted me to work with him.
Now I turn my attention to the link between Yeats’s poetry and Vedic spirituality.
I am seeking harmony through my work and both Yeats and the ancient Vedas sought peace.
'And I shall have some peace there,
for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings; There midnight's all a-glimmer,
and noon a purple glow,
And evening full of the linnet's wings.'
The light in my paintings cannot be grasped, their substance is spiritual light. I feel in Yeats’s poetry there are gaps between description where he leaves only light.
A lot of Yeats’s poetry came from the heart, in Indian spirituality is is the heart chakra. Even his romantic poetry has a spiritual, sensousness yearning in it
'HAD I the heavens’ embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.'
That is coming from the heart chakra and my paintings and my spiritual light thresholds
attempt to be doors into that same heart centre., where all is light.
From the poem Imitated from the Japanese
(page 309, Augustine Martin’s collected poems of W.B. Yeats)
I’ve always liked the idea that my images have a certain restlessness about them, a stubborn resistance to pigeon-holing and definition.
They exist on the shadowy threshold of things – always on the point of emerging from – or else returning to – the darkness that gives them life.
It‘s this quality of tentatively approaching definition, of keeping my work open to multiple interpretations, that gives me the greatest satisfaction and simulates, I hope, a powerful imaginative response.
Because that’s what I’m after – art with an immediacy that reaches out to its audience, and only really completes itself in their visceral responses to it. That’s the hope.
The National Botanic Gardens were founded in 1795 in a golden age of exploration and scientific discovery. This was a romantic era of plant-hunters who journeyed all over the globe in search of botanical specimens to carry
home for study and cultivation. The naturalist Charles Darwin was one such explorer whose famous voyage on the HMS Beagle led to the publication of On the Origin of Species, a work which radically changed our perception of
the natural world. The term ‘Natural Selection’ was coined by Darwin to describe how natural forms evolve differently in different locations, to suit their specific environments.
There has always been an important link between botany and the visual arts. From Minoan palaces to 18th Century French Chateaux, the desire to capture botanic images is rooted in antiquity. For over three hundred years printmaking has been an integral part of botanical research and discovery, and vice versa.
“A Natural Selection” features 100 original fine art prints by 100 artists. This ambitious project has brought together artists from Ireland – North and South, alongside artists from Europe, The Middle East, Far East and the Antipodes. The participating artists considered all aspects of the National Botanic Gardens: the 17,000 different species of cultivated forms within the collection, the natural beauty of the Gardens at Glasnevin and Kilmacurragh, their renowned architectural features such as the spectacular Curvilinear Range of Glasshouses and the Palm House, and their continuing scientific and botanical research work.
In their different and individual ways the artists have been inspired by and have paid tribute to the richness and diversity of the natural world and to the work of a great institution, one which is filled with treasure, and is a treasure in itself, the National Botanic Gardens.
Hamilton Gallery in association with Blue Raincoat Theatre Company and Tread Softly Festival presents Wandering Shades by Kate Mac Donagh.
This is an offsite exhibition at The Factory Performance Space, Lower Quay St , Sligo.
The work in this exhibition is inspired by the 'dance plays' of W. B. Yeats. These plays were influenced by Japanese Noh Theatre which uses mask, dance and chorus. Yeats used masks to evoke a sense of 'otherness' and to create a more profound connection between the play and the audience. The 'characters' of the masks are ephemeral, they emerge purely out of the process of creating them, from the dance with the materials.