Hulabhaig : Uig Open 2020: Re-imagined Online

Before the disaster: Toilet paper

By anna olsson

textile - tapestry in linen

h: 120 w: 120 d: 1 (cms).

With this tapestry I wanted to discuss and think about what we take for granted today and what, in the near future, can become a difficult-to-reach luxury about the world that we feel it collapses today. For example, if there was an environmental disaster or if right-wing extremists took power and I had to flee and had to leave everything behind me. I made a list of things that I forgive today and that I hardly notice: dishbrushes, orange juice, toilet paper, a good bra, tea, toothbrushes, chocolate… The list is certainly completely wrong for what I will be missing may not be things without my family, my friends and my workmates. It is as if disasters can never hit us, but instead other people and communities in other places in the world. I finish the tapestry and a few months later we suffer from corona everything becomes totally different.

£2600

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Before the disaster: Toilet paper

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SHORE

By ray rankine

ACRYLIC PAINT, WOOD, CANVAS COLLAGE

h: 76 w: 101 d: 3 (cms).

This is one of a series of paintings which use the text of poems with environmental and cultural themes. They are part of an ongoing series with the working title ‘Words fail me’.

This painting was inspired by 'Shore' by Hans Magnus Enzensberger.

The texts provide the first marks on the canvas before being repeated, erased or distorted during the painting process leaving only a hint of the original meaning.

Visual reference comes from various sources - graffiti, wall inscriptions, junk mail, found objects and textures, In this case a fishing hut on a beach in Southern spain, made out of recycled wood and painted white.

I was thinking about the everyday abuse and erosion of language and the fragility of actual material stuff and how meaning is constantly changed and renewed.

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SHORE

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Saith - Swarm

By karen daye-hutchinson

Collagraph, Folded Waxed Kozo, Book Cloth

h: 69 w: 92 d: 2 (cms).

This original hand printed Collagraph book is editioned to 5. The hard cover is hand made using fine book cloth and lined with somerset paper. The image has been printed on Japanese Kozo paper, waxed and folded like a hankerchief. The outer cover has an etched copper plate with the title. 'Saithe' Gealic for Swarm. The book forms part of my major one person exhibition 'Mapping' currently in lock down at Dillan Gallery, Culturlann Belfast.

Other Details:

This artwork has a hoop attacment at the top of the spine for attachment, to the wall and a magnet secures the right side.

The artwork frames up as open, with the book section closed at the top left; to reveal the title.

£400

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Saith - Swarm

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36,500

By paulo mankini

Pencil on Paper

h: 30 w: 21 (cms).

This drawing is part of a limited edition entitled 36,500. It comprises of 471 separate and unique artworks and all connected.

There are 36,500 lines and spaces in total. That’s how long we all have. Up to 100 years. 36,500 days. Most have less than this time. Some have more.

Each line is a distinct day and a moment in time, which we choose to use or abuse. To use or to waste. We sleep in between. Our bodies need the rest. That’s the gap, in between the lines. Our dreams helping us make sense of all that’s happened and getting us ready for the next day.

The viewer has to count their own life, if they wanted a precise view of the artwork. And really understand their own mortality. This quiet counting and contemplation could send some people mad, with a miscount sending them back to the beginning or give someone a sense of mediation. Giving gratitude to every day lived and survived.

A quiet contemplation of what the future held. When would their last line be drawn? When would it end? Do they have 10,000 days ahead or just 5,000? What are they going to do with these days? Does it change their perspective? Does it feel like a lot or a little?

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36,500

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the red house

By lisa mcgann the brook

mixed medium photography

h: 16 w: 24 d: 4 (cms).

title is the red house, the setting is an old abandoned mental asylum, the view, is outside, clawing to get in, ironic ...the image has relections of the outside bluring inside, merging worlds, crossing lines, hidden treasures left behind.......

£500

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the red house

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Blue Striation

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The Alpha and Omega of Modernity

By sam tahmassebi

Acrylic and gloss paint on foam boad

h: 70 w: 120 (cms).

The work draws attention to contemporary iconography; capitalist innovation; the culture of universality and how they emerge from and connect to history, race and society.

Tahmassebi’s practice poses questions about modes of production and their impact on individual and social consciousness. In this series, two dominant forces writ large, media and commercialism - social media and brands in particular - combine in a cacophony of soundbites, submerging historical roots into what Tahmassebi terms ‘cultural homogeneity’.

Incorporating elements of branding and design, such as the constant rebranding of objects; internet culture, such as its élan for prosaic quotes, and iconographic history, such as the genealogy of iconography, they highlight the manifold layers and intersections of contemporary society.

Through contextualisation, composition and deliberate cacophony, Tahmassebi calls into question the established tropes of thinking, perception, objectification and signification, as mirrors for individual, social and political dissipation. His work reflects on social history through metaphor and iconography, using forms and text as potent allegories for exclusion, marginalisation and obstruction.

£999

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The Alpha and Omega of Modernity

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