Technological University Dublin ARROW@TU Dublin Books/Book Chapters Dublin School of Creative Arts 2015-02-02 Mark Garry : a New Quiet Mark Garry Technological University Dublin, [email protected] Georgina Jackson Trinity College Caroline Hancock See next page for additional authors Follow this and additional works at: https://arrow.tudublin.ie/aaschadpbks Part of the Art and Design Commons, Art Practice Commons, and the Fine Arts Commons Recommended Citation Garry, Mark; Jackson, Georgina; Hancock, Caroline; Long, Declan; Hayward gallery, London.; Visual Arts Ireland; and Sunday Times, "Mark Garry : a New Quiet" (2015). Books/Book Chapters. 11. https://arrow.tudublin.ie/aaschadpbks/11 This Book is brought to you for free and open access by the Dublin School of Creative Arts at ARROW@TU Dublin. It has been accepted for inclusion in Books/Book Chapters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Funder: Royal Hibernian Academy Authors Mark Garry; Georgina Jackson; Caroline Hancock; Declan Long; Hayward gallery, London.; Visual Arts Ireland; and Sunday Times This book is available at ARROW@TU Dublin: https://arrow.tudublin.ie/aaschadpbks/11 Mark Garry MG_A_New_Quite_INNERWORK_FA.indd 1 18/09/2015 16:28 MG_A_New_Quite_INNERWORK_FA.indd 2-3 18/09/2015 16:28 Mark Garry Installation Drawing Print Sculpture Photography Sonic Sculptures Film Music Performance Collaborations A New Quiet MG_A_New_Quite_INNERWORK_FA.indd 5 18/09/2015 16:28 Mark Garry Installation Drawing Print Sculpture Photography Sonic Sculptures Film Music Performance Collaborations A New Quiet Royal Hibernian Academy, Dublin MG_A_New_Quite_INNERWORK_FA.indd 6-7 18/09/2015 16:28 Published to mark the occasion of the exhibition Sequence of Parts Mark Garry Foreword Patrick T. Murphy—11 A New Quiet Royal Hibernian Academy The Invitation Georgina Jackson—16 Gallagher Gallery from January 16 to Spatial Rhapsody Caroline Hancock—36 February 22, 2015 A Conversation with Mark Garry Declan Long—71 Published by Royal Hibernian Academy Mark Garry: Musical Acts Brian Cass—100 Gallagher Gallery 15 Ely Place, Dublin 2, A Winter Light Joanne Laws—115 DO2 A213, Ireland Tel: 353 1 661 2558 A New Quiet Cristín Leach Hughes—131 rhagallery.ie Photography; Ros Kavanagh and Denis Mortell Directory of Works—147 additional photography courtesy of Anna Leask, Hirona Matsuda, MJ Whelan, Stephen Friedman Gallery and Kerlin Gallery CV & Biographical Note Mark Garry—151 Design; an Atelier project atelier.ie Proofreader/Editor; Suzanne Walsh Print; MM Art Book Printing Binding; XXXXXXXX, XXX Biographical Notes Contributors—155 Published by Mark Garry and the Royal Hibernian Academy © Royal Hibernian Academy, the artists and the authors and may not be reproduced in any manner without permission. ISBN 1–903875–76–5 Acknowledgements—159 Mark Garry is represented by Kerlin Gallery Anne’s Lane, South Anne Street, Dublin 2, Ireland Tel: 353 1 670 9093 kerlin.ie 9 MG_A_New_Quite_INNERWORK_FA.indd 8-9 18/09/2015 16:28 Mark Garry — A New Quiet Patrick T. Murphy Foreword Director, Royal Hibernian Academy As a curator there are many ways of working with an artist. Some depend on a high degree of collaboration and some require a lighter touch. Working with Mark Garry required an even more demanding strategy — complete trust. With the exception of planning technician support and a decent installation period in the Gallery, the process was handed over to the artist to conceive and execute. Being aware of Mark’s methodology and of his sensitivity to spaces, it was a thrilling time to see the exhibition slowly unfold within gallery arena. Mark’s sensibility is formed by landscape and its topographical and cultural determinants. Music also permeates his approach. Trading on paradox and counterpoint, the largest work created for the space was also the most ephemeral. Over three hundred threads, spanned and sliced its volume. Installed near to the ceiling their spectrum colours could be intermittently perceived from different vantage points, a fugitive rainbow evading fixity. Beneath this celestial event, a considered small number of objects were placed, the distances between them becoming journey’s, as the viewer went from one feature to another. The space became a landscape, the viewer became the protagonist, the experience became the narrative. Within the pages of this publication you can gain some sense of what the artist achieved at the RHA. We are indebted to him for the vision he brought to the challenge and for his labour in realising it. In addition to documentation and text relating to this exhibition, this publication also offers an insight into the depth and diversity of Mark’s creative output over the past ten years, with a particular focus on five solo exhibitions Mark has realized over a twelve month period from January 2014 in Sligo, Dublin, Marseille and Charleston, South Carolina. We would also like to thank the Friends of the RHA whose continued commitment to the RHA aids us in presenting exhibitions such as this. And our gratitude for the annual support of the Arts Council/ An Chomhairle Ealaíon without which the RHA Exhibiiton and Education Programmes would not be possible. 10 11 MG_A_New_Quite_INNERWORK_FA.indd 10-11 18/09/2015 16:28 Mark Garry — A New Quiet 12 MG_A_New_Quite_INNERWORK_FA.indd 12-13 18/09/2015 16:28 Mark Garry — A New Quiet 14 MG_A_New_Quite_INNERWORK_FA.indd 14-15 18/09/2015 16:28 Mark Garry — A New Quiet Georgina Jackson The Invitation 1. St. Columba’s Church, Swords, Co. Dublin. The project was a commission by Fingal County Dear reader Council and initiated by Caroline Crowley. It begins with an invitation. Dear reader, follow the lines of my 2. http://sendingletterstothesea.bandcamp. words, think about the ideas that exist in the turn of phrase or com/album/sending-letters-to-the-sea reflect on what lies in-between. Dear reader, follow the line of 3. Sennett, Richard. 2012. Together. coloured thread from one space to another as it turns and twists; The Rituals, Pleasures and Politics of absorb the subtle colour alterations as blues turn to purple and Cooperation. London, Penguin Books, p.9 reds turn to yellow sprawling across vacant spaces. The work 4. Ibid., p.19 of Mark Garry begins with an invitation, an openness and subtle generosity to look, to think, to explore — let us start this journey. Sending Letters to the Sea The ver y proposition of ‘sending letters to the sea’ is and of itself a redundant act (there is no final destination… indeed, which sea?) but an act which holds promise. The very image of a letter in a bottle scattered to the sea in a world of technological advances, (and proximity despite distance) projects a certain hopefulness of communication and the potentiality of collective moments to transcend time and distance. Indeed, this was the title of a durational public art project initiated by Garry, gathering musicians from wide-ranging fields, electro/acoustic musician and composer Karl Him (Karl Burke), musician and singer Nina Hynes, jazz percussionist Seán Carpio, classically trained pianist Fabien Leseure, jazz violinist Benoit Leseure, electronic musician Eileen Carpio, Geaspar Warfield, John Egan and the Fingal Chamber Choir, to collaborate on a performance and record. The project began with Garry’s continued interest in the resonance of music within Christian beliefs, and through extensive research into the role of music within broader religious histories there was an exploration of their intertwinement; how religion throughout history and religious instances shaped both the form and composition of music. History, sound, belief systems and skills were excavated and working collaboratively over a period of two years, a soundtrack was born in a church on the 19th November 2010 1 which posited moments of the celebratory and promise through the secular, and explored music as both a moment and cause of collectivity in the present and throughout history. The location of this project was not contained within the walls of the church only, but saw the making of a vinyl record then inserted into alternate forms of dissemination through record stores, galleries and online through BandCamp. 16 17 MG_A_New_Quite_INNERWORK_FA.indd 16-17 18/09/2015 16:28 19 MG_A_New_Quite_INNERWORK_FA.indd 18-19 18/09/2015 16:28 Mark Garry — A New Quiet There is a continued resonance of music within Garry’s work, A Generous Act from the componiums (music boxes that play punched paper Distinctions blur within Garry’s sculptural and installation work; card), first appearing in his project for Ireland at Venice in 2005 the outlined form of a harp is inserted into the riverbed to make and re-appearing more recently, folded records with layers of music from the wind along the banks of the river Shannon, a ribbon sprawling into the gallery space, to multiple collaborative boat becomes a musical instrument, while coloured thread and music projects such as Sending Letters to the Sea, and later beads become trajectories to navigate space, and performance projects such as A Generous Act (2010) and Drift (2012). As and making become one. Likewise the material form of Garry’s Garry has stated “I am particularly interested in the fluidity and sculptural and installation work — thread, rainbow colours, democracy of music as a cultural form, the manner in which it carved balsam wood, ribbons, records, coloured pens often integrates complex mixtures of geographic, social and historical speak from the language of craft. In marrying traditional skills instances/influences and continues to do so as it evolves.” 2 As with trajectories, colour and sound there is a call to the things an aside, Garry founded The Listening Group in 2009 which we are passionate about.