Pamela de Brí
My work explores and engages with the changing and evolving social and environmental landscape of Ireland.
I work in printmaking, painting, photography and audio and is mainly project based. Recent projects include exploring the leftover state of an 1845 shed in Broadstone using video, photography and audio; following by bicycle and documenting in photographs, notebooks, audio recordings and drawings, an old railway network across the midlands resulting in a series of exhibitions around Ireland and devising, coordinating and curating a year long 1916 commemorative project through printmaking involving 49 artists.
My art practice explores place through swimming. ‘Place’ being the watery space that is navigated and swam through, the littoral space surrounding and the social space
created by this shared activity..
When passing a body of water, be it pond, fountain, lake, river or sea, it’s hard for me not to resist the urge to take a swim. My work investigates where this drive to swim, to immerse oneself in water comes from. Is this urge spiritual, escapism or social? Is it the sheer thrill of the unknown; to feel the water on our skin, the cold on our head, adapt our breathing and to feel we exist?
Swimming, journey, encounter, conversation are the starting points for my projects. I use video, sound recording, drawings, publications, made object and live events to create the work. This process I have been describing as ‘Psychoswimography’. The word ‘swim’ added to Psychogeography to shift the meaning from a terrestrial drifting to a watery drifting and re-imagining of place.
In the past few years I have created art projects in watery spaces as diverse as the frozen Pirita River, Estonia; the Rideau Canal, Canada; The President’s Fountain, Bulgaria; the Pacific Ocean, Santa Barbara; the M50 Aqueduct, Dublin to the bogs of Ballycroy, Co Mayo.
Sheena Malone is a curator based in Berlin. Having worked for 6 years at The Douglas Hyde Gallery in Dublin, she moved to Sweden in 2011 to undertake an MA in curating contemporary art at Stockholm University. In 2015, she formed part of CuratorLab at Konstfack Stockholm where she investigated the folklore and local history of Allenwood, Co. Kildare, Ireland which was the starting point for ‘Invisible Stories’. She is the initiator and curator of ‘Couchsurfers Paradise’, a series of exhibitions unfolding in the homes of strangers in Stockholm. Recent projects have included ‘Ritual Play’, Verkstad Konsthall, Norrköping, and ‘Faraway Longings’, Irish Embassy Berlin. During 2017, she is the gallery director of Dada Post, a project space in Berlin where an exhibition series call ‘Transitions’ unfolds.