https___artsineducation.ie_ga_project_notes-for-art-school-thinking-visual__1.xml
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Refine by Region Refine by Art Form Refine by School Level Thinking Visual Briefly tell us the story of your project – What was it about? Who was involved? How did it get started? Jennie: In early 2014 I received the Thinking Visual Residency Award, run by Wicklow County Council & Mermaid Arts Centre. I proposed a new type of residency within Blessington Community College, where artists John Beattie, Sven Anderson and myself as project curator would work with transition year students to explore activities that lay between producing new artwork and developing a conceptual framework within which to present it. This residency provided a unique experience for both the students and the school to focus on this process-driven phase of contemporary art production, and highlight vital links between the artist as researcher and students as inventive learners. John Beattie gave a focus to moving image work and Sven Anderson evolved sonic frames of reference with the students. Sven: The curator Jennie Guy invited me to take part in a six-week residency programme working with transition year students in Blessington Community College in County Wicklow, in late 2014. Between October – December, I met with the students, Jennie Guy, and the art teacher Turlough Odonnell once a week. Much of my practice is focused on contemporary sound art practices, so I initiated the project with an energetic workshop based on physically manipulating vinyl LPs. Using blades, electrical tape, and sandpaper, the students made physical marks on the surfaces of records that I sourced in a bargain bin in a charity shop in Dublin. Most of the students had never been near a record before .. and immediately we found ourselves having conversations about media manipulation, the sense of hearing, noise and silence, and what distinguishes noise from music from art. I spent the next sessions presenting a variety of material to the students – some of it interactive, some of it more based on creating the time and space to listen to and comment on significant artworks in this field. These conversations crossed many boundaries by addressing subjects and techniques that were outside of what many of the students would consider as art. Each week provided the chance for another listening session – and we listened to works by Max Neuhaus, Bill Fontana, John Cage, Alvin Lucier, Christina Kubisch, Sam Auinger, and Luc Ferrari (amongst others). After one particular conversation about sound installations in public places, the students began to express a strong interest in making a sound installation for their school. We quickly focused on conducting site surveys of the schools grounds (looking for the right site to work into), developing a concept for the work’s structure and content, and going over all of the practical aspects of making such an installation. We invited the school’s principal to the next workshop and the students themselves made a presentation proposing the installation, and asking for permission to construct it. On the final day of the residency, I spent the entire day at the school working on the installation. The final sound installation (installed by the students with help from their teachers from art, woodworking, metalworking, and the school’s maintenance staff) is formed by four boards spanning over 40 ft, mounted overhead in the outdoor passageway. The boards are fitted with sound transducers, transforming the boards into resonating speakers. The students choose combinations of sounds from an online database of field recordings uploaded by various sound artists that drift between boards throughout the day (played back from a computer / hardware setup installed in one of the classrooms), providing a backdrop to the everyday sounds taking place outside their school. This piece is still installed outside of the school in early 2015. Turlough: Between September and December 2014 Jennie Guy (Art School / Mobile Art School) curated an artist residency in Blessington Community College. The residency consisted of six workshops for the Transition Year students. There are two classes in Transition Year in Blessington, one class worked with artist Sven Anderson and the other class worked with artist John Beattie. Over the six weeks students were introduced to the work of their resident artist, experimental workshops were carried out where students explored the processes involved in Sven and John’s work. From these explorations proposals for works in video and sound were developed. These proposals were then presented to the School Management and ultimately art works were produced with the artists working closely with the students at all times. What aspects of the project made you smile? What aspects of the project made you feel challenged? Jennie: As each subsequent week of the residency went by I looked forward to each residency session as I knew that there would a lot of unexpected laughs generated by each artist’s session. John Beattie really pushed the boundaries of the students perceptions of experimental moving image works. He gave the groups he worked with such freedom that they were able to devise and follow through with their ideas from session to session. Seeing the students achieve such experimental works was really exhilarating for me as an observer and really fun for the students. At times I felt quite challenged at the end of each session in trying to describe what had happened from the artists and students perspective. I knew the ideas and research that the artist was trying to evolve but somehow trying to make it relevant to this student audience I would begin to stutter in my round-up. Turlough O’Donnell the art teacher has a really unique talent of being able to process the ideas the artist was bringing to his classroom and school but somehow contextualise it as a teacher and then re-present each session with great articulation to his students that I felt that I was learning a lot from him. John: During my third session with the students, I set a self motivated brief for the day, to give the students an opportunity to experiment with ideas independently using the camera & lens, throughout the grounds of the school. The students explored ideas and methods discussed and demonstrated from previous sessions. At the end of the task, students gathered in the art room, and I projected all images the students had shot large scale for all to view and critique. To my delight, a group of students had created a sequence of images, illustrating one of their peers “flying” steadily, in the air, through the school building. Using a Stop-Motion camera technique, the students discovered an imaginative approach, which later became the central focus of the projects final video. A fantastic moment. Working with large groups of mixed teenagers can be very challenging to ensure that each individual feels apart of the process. Also, monitoring how engaged students are, and if students are engaging at all. It’s crucial for me that I create that space for students to feel comfortable and confident to come forward and be involved in the creative process. This was the most challenging yet rewarding aspect of the project. Sven: There were so many moments working on this project that made me smile. One of the funniest moments occurred when we were talking about the artist / composer John Cage, in particular his composition 4 minutes 33 seconds. This piece is a performance in which the audience (and performer) remains silent for this exact duration of time, highlighting the ambient sounds of the performance space and demonstrating that there really is no such thing as silence – and that many incidental sounds can become ‘material’ when given appropriate focus. We were in the middle of uploading our own version of this piece via a new 4’33” iPhone App – sitting in a circle, listening to the sound of nothing – of our breath, of the creak of chairs, the subtle passing of cars outside. This duration can feel like a long time for a group of teenagers – sitting still, trying not to laugh, trying to stay quiet. One of the students was holding a ‘virtual baby’ / ‘infant simulator’ – one of these fake baby dolls that the students have to take care of, tending to their needs. Suddenly – in the middle of our silence – the baby let out a computerized cry. The laughter that had been hiding behind the silence suddenly broke and we were all laughing, the sound being uploaded to the app to be stored with hundreds of other ‘silences’ recorded around the world. There were many moments like this – in which our focus on listening, and on the medium of sound, forced us to negotiate with many aspects of space and experience that we would never have had to confront if we were working in a more visual medium. By the end of the residency, I felt that we had a strong group dynamic, and a good understanding of how we could work together as a group both to understand more difficult concepts, and to work towards producing a significant impact on our environment – as evidenced through the successful installation of the sound installation outside of the school. Turlough: Seeing the student’s reaction to appearing in the video work really made me smile, particularly because the young girl who became the focus for the main video piece is a very quite student, and she got a real kick out of making the piece. Also the first video piece involved another student being given the power to move chairs with his mind this also was very funny to see his performance in front of the students. In the sound work shop seeing all the students engage with the artist made me smile. I and the students really enjoyed the field recording trip to Dublin also. On this trip we recorded the everyday sounds of the city; these sounds were later incorporated into a piece of sculpture the students had made in response to Sven’s sound workshop. The whole project / residency challenged the students notions of what is and what is not art and they now have a broader appreciation of what is involved in contemporary art practise. What insights from the project are worth sharing? Has anything changed as a result of the project? Jennie: I must acknowledge the strength and benefit of forming strong background relationships that substantiate residencies like this. For example, without the backing, support and most importantly the creative vision of Wicklow Country Arts Office and Mermaid Arts Centre this project would never happen. My approach to creating firm and supportive relationships has deepened even more, this does take more time but now that I can see how exciting ongoing connection with schools can emerge from this type of relationship gives everybody involved in this type of project a great sense of achievement. The same approach goes for really involving the artist as early as possible before a project, either in conversation and or doing site visits and being able to communicate as much as possible before a project starts. This project has given a lot of confidence to approach new contexts. John: I heard from the schools art teacher that after one of our sessions, a usually quite student came up to him and said that the session and work done was; “poetry in motion”. Another aspect worth sharing from the project, is the careful and considered level of detail carried out by curator Jennie Guy, with the school and art teacher Turlough, to co-ordinate and manage this process. The atmosphere and fundamental creative environment, had been set in place and in motion, making this an extremely smooth and successful project. I think there is a large number of things that have changed as a result of the project, some measurable, many others not so easy to measure: For the school, Principal, art teachers, and most importantly the students, to experience a sense of what is possible, what can be done, of how to step outside of the school curriculum and produce innovative and challenging work. I feel people’s perspective and perceptions changed in relation to art within the secondary level education system. This also goes for myself as an artist and educator, that we can bring dynamic, relevant, and engaging art practices into the school education system, and produce work and working relationships, where the integrity of project is completed with the highest level of engagement. Sven: The project’s structure – established by the curator Jennie Guy – was quite a substantial framework to begin with. I have had experiences with workshops in which the artist is completely responsible for establishing frames of reference with the teaching staff, the school, and the students. In this case, the curatorial framework that Guy established with Turlough ODonnell (the art teacher) set the ground for more adventurous work within the residency – in which I was free to develop my own ideas in response to the students’ interests as they emerged / developed over the course of the residency. The resulting environment (within these sessions) allowed us to move very quickly and to cover quite a bit of ground in six weeks, and the support and exchange with the students, the art teacher, and the curator all felt substantial and easy to balance. I sense that the impact of having the sound installation – quite a substantial experiential structure – built outside of the school in Blessington marked a significant change in all of our expectations concerning how far we might go with this kind of experimental learning framework. This was not an expected outcome of the project – and beyond the process of producing what I consider to be a considered artwork, our experience working together and learning to ask for a chance to shape or author our environment – in this case the environment of the school – was quite significant. I believe that enabling the students to make a legible mark on their surroundings is a valuable experience in breaking down the borders between self / space (environment) / and authority, resulting in a more active approach to establishing democratic spaces. Turlough: The approaches of both artists have given the students great insight into the working practices of contemporary artists. Sven’s work in the field of sound sculpture has the potential to create a greater awareness in students to their surrounding particularly to the sound environment of the school. As a teacher the engagement with both artists has had a very positive effect on my own approach to teaching. I believe that it is very important as a teacher to open the subject up and by getting professional artists into the art room with the students has an energising effect. I think that students will be more open minded as a result of the project. Some students have even started to explore new media on their own. One group of students created their own video piece in and entered it in a competition called “Youth Connect”. Their work was short listed to 12 which were screened in the Savoy cinema last week. I have no doubt that the video residency with John would have influenced and informed their approach. Students’ report Our names are Shona O’Connor and Aoife Mescall, we were students involved in the residency who worked with Sven in the area of sound sculpture. On the day we were introduced to Jennie and Sven, Sven told us about his area of work and told us what he wanted us, as a class, to learn from the residency. To introduce us to the basics of sound, he brought us in old records with very different genres and sounds and played them on his record player, which he also taught us how to use throughout the day. As an experimental activity, we each chose a record at random and used tape, sand paper and knives to mark and scratch the record to make different sounds and interruptions on the track when it played. Following up on working with records, Sven gave us the task of making some sort of sculpture using the record covers. The class decided to build a ‘sound tower’ by taping the covers together in various different ways and installing small speakers to the sculpture. After a couple of weeks, along with Sven, the class came up with the idea of making putting up a semi-permanent sound installation somewhere in the school to make others aware of the sounds around them. We came up with the concept of attaching four small speakers to four long planks of wood that would go up on the ceiling of the shelter outside the first year corridor. In preparation for proposing our idea to Mr Burke, our principal, we had to plan to tell him what we wanted to do, how we were going to do it and what we wanted to get out of this project. We chose two pupils to help Sven to pitch the idea to Mr Burke and from the very start he was on board with helping us complete the task. Different people were given different jobs that they had to complete as their part-taking in the completion of the project. Some were in charge of preparing the wood for the speakers to be securely installed and others helped in choosing the sounds we were going to play. At first no-one could really hear the sounds we were trying to make noticeable, so Sven and Mr O’Donnell worked on fixing it and making it louder. On the last week in the residency, Sven came in and helped us put everything together. Outside Sven helped other pupils feed wires and cables through the wall to ensure we would be able to connect the speakers to electricity, while the rest of the students helped Donal, our care taker, secure the planks to the ceiling of the shelter to be ready to be connected. Other students stayed inside to make a final decision on the sound they were going to play and what went well together. Everything was just about finished when the final bell of the day rang. To thank Sven and Jennie for all their hard work and time they had spent with us, we presented them with a bottle of wine as a small token of our appreciation. When people were beginning to become aware of the sounds being played, confusion was their initial reaction. They were curious as to where it was coming from, as they were not aware we had been working on this project. However when they got used to it, they listened closely and carefully to the sounds and tried to figure out the type of sound that was being played. We feel our class really enjoyed the experience and learned a lot about how art is not just in pictures and paintings. We all got along really well with Sven and found it a very interesting and new experience. We were also thought about how interesting it is to stop and listen to how versatile the sounds in a particular environment can be. Overall we think the project was a massive success and really enjoyed working in such a different area of art. Spotlight Artist(s): John Beattie Beattie’s work explores ideas and perceptions relating to notions on the Artist, the studio, and relationship with the audience. Through process-based and context-specific methodologies, his work employs the use of video, drawing, and performative intervention. Concerned with methods of production and representation, his curiosity lays with how the viewer/audience engages with or unravels the creative process. Born in 1980, John Beattie is originally from Co. Donegal and currently lives and works in Dublin. He has been artist in residence at Fire Station Artists' Studio, Dublin, 2006-2009; Royal Hibernian Academy, Dublin, 2010; Temple Bar Gallery & Studios, Dublin, 2011; and The Irish Museum of Modern Art, Dublin 2011. He has exhibited nationally and internationally with recent selected exhibitions including: Hennessy Portrait Prize, The National Gallery of Ireland, Dublin, 2014; A Line of Inquiry, Fort Dunree, solo show, Co. Donegal, 2014; An Artist, The Studio, and all the rest, solo show, The Royal Hibernian Academy, curated by Patrick Murphy, Dublin, 2012; Long Drawn Out, Catalyst Arts Gallery, Belfast, 2013; The Artist Studio Series, The Process Room, The Irish Museum of Modern Art, Dublin, 2011; The Artist Studio Series (If The Art...), The Return Gallery, Goethe Institute, Dublin, 2010; Fragile, Le Carre Bonnat, Musee Bonnat, curated by Francois Loustau, France, 2009; Awards include: Arts Council Projects Award, 2012; Arts Council Visual Artist Bursary, 2006, 2007, 2010; Donegal County Council Artist Bursary, 2005, 2006, 2013; Open EV+A Award, Limerick City Gallery of Art, 2005; Arts Humanities Research Board, 2003-2005. In March, 2015, John Beattie will be an apexart fellow, New York. apexart's New York City Fellowship program is focused on cultural exchange and new experiences, providing an intense, explorative journey into New York. The awarded Fellowship was nominated by Gavin Murphy, Pallas Projects Director, Dublin. Sven Anderson Sven Anderson is an artist working between Ireland and the US since 2001. Anderson's work explores the act of listening within diverse architectural, physical, social, and emotional contexts. His practice is a discursive platform that operates through artistic intervention, academic publication, participatory processes, and interactive design. His public art project MAP: Manual for Acoustic Planning and Urban Sound Design was awarded the European Soundscape Award by the European Environmental Agency (EEA) in 2014. Anderson's installations and performances are parasitical, feeding off of details of the immediate built environment, the bodies of the audience, and fragments of local history and ecology to suggest emergent, site-specific forms. Teacher(s): Turlough O’Donnell, Teacher Turlough O’Donnell is a graduate of Fine Art from the National College of Art and Design, Dublin. He lives and works in Blessington, County Wicklow. He has been working as an Art teacher in Blessington Community College since 1994. During this time he has also maintained his own art practise. Working primarily in the medium of oil paint, he uses his immediate environment that which is close at hand is his starting point; the town where he lives; the surrounding mountains; the rivers and lakes. Other: (Curator, agency, etc): Jennie Guy, Curator Jennie Guy is an artist, researcher, and independent curator based in Dublin. She is the co-founder and director of Mobile Art School, a project that aims to disseminate contemporary art practices within a primary and secondary school context, 2011-2014. She is interested in expanding the relationships between students, schools, artists, curators, and exhibition venues, and is currently evolving a strategic methodology that highlights the potential of creative and evaluative documentation. Recent projects include: Thinking Visual, an artist residency in Blessington Community College (Co. Wicklow); The Artist Stays, a 30-week artist residency in St. Catherines NS (Co. Dublin); The Thinking Hand, a workshop series in Whitecross NS (Co. Meath); and a series of workshops for the Summer Rising Festival at IMMA in 2014. Within this mode of practice she has worked with many artists exploring different media including: Sven Anderson, John Beattie, Stephen Brandes, Michelle Browne, Karl Burke, Rhona Byrne, Felicity Clear, Hannah Fitz, Jane Fogarty, Mark Garry, Russell Hart, Emma Haugh, Vera Klute, Vanessa Donoso Lopez, Ruth Lyons, Isabel Nolan, and Tamarin Norwood. Recently Jennie has been involved in a research residency in RUA RED, and developing a new series of arts in education projects between Dublin, Wicklow, Roscommon, and Monaghan. Artist(s) John Beattie Sven Anderson Jennie Guy Teacher(s) Turlough O’Donnell Artforms School Level School/ Participant Group Blessington Community College Participants Region Age/Class Transition Year Dates September - December 2014 Weblinks Leading Agency Wicklow Arts Office Other Partners and/or Funders Art School ??, Mermaid Arts Centre Curriculum Strands Art, Science, Maths, Physics, SPHE, English Research or relevant publications I believe it is very important as a teacher to open the subject up and by getting professional artists into the art room with the students has an energising effect. Turlough O'Donnell, Teacher
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Caolaigh de réir réigiúin Caolaigh le Foirm Ealaíne Caolaigh le leibhéal na Scoile Thinking Visual Tabhair achoimre ghearr ar scéal do thionscadail – Céard faoi é? Cé a bhí páirteach ann? Cén chaoi ar thosaigh sé? Jennie: I dtús na bliana 2014 bronnadh Gradam Cónaitheachta Thinking Visual orm, a ritheann Comhairle Contae Chill Mhantáin agus Ionad Ealaíon Mermaid. Mhol mé cineál nua cónaitheachta laistigh de Choláiste Pobail Bhaile Coimín, ina mbeadh na healaíontóirí John Beattie agus Sven Anderson agus mé féin mar choimeádaí an tionscadail ag obair le scoláirí idirbhliana chun gníomhaíochtaí a iniúchadh a bheadh bunaithe idir saothar nua ealaíne a chruthú agus creatlach choincheapúil a fhorbairt ina bhféadfaí an saothar sin a chur i láthair. Chuir an chónaitheacht seo taithí uathúil ar fáil do na scoláirí agus don scoil chun díriú ar an gcéim seo atá bunaithe ar phróiseas a bhaineann le táirgeadh ealaíne comhaimseartha, agus béim a leagan ar na naisc riachtanacha idir an t-ealaíontóir mar thaighdeoir agus na scoláirí mar fhoghlaimeoirí airgtheacha. Chruthaigh John Beattie fócas ar obair leis an íomhá ghluaisteach agus d’fhorbair Sven Anderson creatlach thagartha shonach leis na scoláirí. Sven: Thug an coimeádaí Jennie Guy cuireadh dom páirt a ghlacadh i gclár cónaitheachta sé seachtaine ag obair le scoláirí idirbhliana i gColáiste Pobail Bhaile Coimín i gContae Chill Mhantáin i ndeireadh na bliana 2014. Idir mí Dheireadh Fómhair agus mí na Nollag bhuail mé leis na scoláirí, le Jennie Guy agus leis an múinteoir ealaíne Turlough O’Donnell uair sa tseachtain. Tá go leor de mo chleachtas dírithe ar chleachtais ealaín fuaime chomhaimseartha, mar sin chuir mé tús leis an tionscadal le ceardlann bhríomhar bunaithe ar cheirníní vinile a ionramháil go fisiciúil. D’úsáid na scoláirí lanna, téip leictreach agus páirín chun marcanna fisiciúla a dhéanamh ar dhromchla ceirníní a bhí faighte agam i mbosca sladmhargaidh i siopa carthanachta i mBaile Átha Cliath. Ní raibh formhór na scoláirí tar éis ceirnín a fheiceáil riamh cheana... agus láithreach bonn thosaíomar ar chomhrá faoi ionramháil meán, faoin éisteacht, faoi thorann agus ciúnas, agus faoin idirdhealú idir torann agus ceol agus ealaín. Chaith mé na chéad chúpla seisiún eile ag cur ábhar éagsúil i láthair na scoláirí – bhí cuid de idirghníomhach, bhí cuid de níos dírithe ar am agus spás a chruthú chun éisteacht le saothair shuntasacha ealaíne sa réimse seo agus iad a phlé. Sháraigh na comhráite sin go leor teorainneacha trí dhul i ngleic le hábhar agus le teicnicí a bhí lasmuigh den tuiscint a bhí ag go leor de na scoláirí ar ealaín. Bhí deis ann gach seachtain tabhairt faoi sheisiún éisteachta eile – agus d’éisteamar le saothar le Max Neuhaus, Bill Fontana, John Cage, Alvin Lucier, Christina Kubisch, Sam Auinger, agus Luc Ferrari (i measc ealaíontóirí eile). I ndiaidh comhrá áirithe amháin faoi shuiteálacha fuaime in áiteanna poiblí, léirigh na scoláirí suim mhór i suiteáil fuaime a dhéanamh dá scoil. Dhíríomar go sciobtha ar shuirbhéanna suímh a dhéanamh ar thailte na scoile (agus muid ag lorg an tsuímh cheart le bheith ag obair ann), ag forbairt coincheap do struchtúr agus d’ábhar an tsaothair, agus ag plé na ngnéithe praiticiúla ar fad a bhain le suiteáil dá leithéid a dhéanamh. Thugamar cuireadh do phríomhoide na scoile teacht go dtí an chéad cheardlann eile agus rinne na scoláirí féin cur i láthair chun an tsuiteáil a chur chun cinn, agus d’iarr siad cead í a thógáil. Ar an lá deireanach den chónaitheacht, chaith mé an lá ar fad ar scoil ag obair ar an tsuiteáil. Is éard atá sa tsuiteáil fuaime deiridh (a shuiteáil na scoláirí le cúnamh óna múinteoirí ealaíne, adhmadóireachta, miotalóireachta agus ó fhoireann cothabhála na scoile) ná ceithre chlár atá os cionn 40 troigh ar fad, atá crochta os cionn an phasáiste lasmuigh. Tá trasduchtóirí fuaime ar na cláir, a dhéanann callairí athshondacha de na cláir. Roghnaigh na scoláirí meascán fuaimeanna ó bhunachar sonraí ar líne de thaifid allamuigh a d’uaslódáil ealaíontóirí fuaime éagsúla a théann idir na cláir ar feadh an lae (a sheinntear ar ríomhaire / chumraíocht crua-earraí a socraíodh i gceann de na seomraí ranga), agus a chuireann cúlra ar fáil do na fuaimeanna laethúla a chloistear lasmuigh dá scoil. Tá an saothar seo fós suiteáilte lasmuigh den scoil i dtús na bliana 2015. Turlough: Idir mí Mheán Fómhair agus mí na Nollag 2014 bhí Jennie Guy (Art School / Mobile Art School) ina coimeádaí ar chónaitheacht ealaíontóirí i gColáiste Pobail Bhaile Coimín. Bhí sé cheardlann le scoláirí na hIdirbhliana i gceist leis an gcónaitheacht. Tá dhá rang san Idirbhliain i mBaile Coimín; d’oibrigh rang amháin leis an ealaíontóir Sven Anderson agus d’oibrigh an rang eile leis an ealaíontóir John Beattie. Thar thréimhse sé seachtaine chuir na scoláirí aithne ar shaothar a n-ealaíontóra chónaithe, agus tugadh faoi cheardlanna turgnamhacha inar iniúch na scoláirí na próisis a bhaineann le hobair Sven agus John. I ndiaidh an iniúchta sin, forbraíodh moltaí d’obair físeáin agus fuaime. Cuireadh na moltaí sin i láthair Bhainistíocht na Scoile ansin agus ar deireadh rinneadh saothair ealaíne ina raibh na healaíontóirí ag obair go dlúth leis na scoláirí i gcónaí. Cé na gnéithe den tionscadal a chur meangadh gáire ar d’aghaidh? Cé na gnéithe den tionscadal a thug do dhúshlán? Jennie: Seachtain i ndiaidh seachtaine sa chónaitheacht bhínn ag súil le gach seisiún cónaitheachta toisc go raibh a fhios agam go mbeadh go leor gáire gan choinne ann mar gheall ar sheisiún na n-ealaíontóirí. Sháraigh John Beattie go háirithe teorainneacha thuiscint na scoláirí ar shaothair thurgnamhacha íomhánna gluaisteacha. Thug sé an oiread sin saoirse do na grúpaí lenar oibrigh sé go raibh siad in ann a smaointe a chur i dtoll a chéile agus i gcrích ó sheisiún go seisiún. Bhí áthas thar na bearta ormsa mar bhreathnóir na scoláirí a fheiceáil ag cruthú saothair a bhí thar a bheith turgnamhach agus bhain na scoláirí an-spraoi as. Uaireanta bhraith mé go raibh sé an-deacair iarracht a dhéanamh cur síos a dhéanamh ag deireadh gach seisiúin ar an méid a tharla ó thaobh dhearcadh na n-ealaíontóirí agus na scoláirí de. Thuig mé na smaointe agus an taighde a theastaigh ón ealaíontóir a fhorbairt ach nuair a rinne mé iarracht é a dhéanamh ábhartha don lucht éisteachta scoláirí seo, thosóinn ag labhairt go stadach i m’achoimre. Tá bua thar a bheith uathúil ag an múinteoir ealaíne Turlough O’Donnell mar go bhfuil sé in ann na smaointe a thug an t-ealaíontóir go dtí a sheomra ranga agus go dtí an scoil a phróiseáil ach ansin iad a chur i gcomhthéacs mar mhúinteoir agus ansin gach seisiún a chur i láthair arís agus a chur in iúl go soiléir dá scoláirí. Bhraith mé go raibh mé ag foghlaim an-chuid uaidh. John: Le linn mo thríú seisiún leis na scoláirí, shocraigh mé tasc féinspreagtha don lá, chun deis a thabhairt do na scoláirí turgnaimh a dhéanamh ar a smaointe go neamhspleách le ceamara agus lionsa, ar fud thailte na scoile. D’fhiosraigh na scoláirí na smaointe agus na modhanna a pléadh agus a cuireadh i láthair i seisiúin roimhe sin. Ag deireadh an taisc, chruinnigh na scoláirí le chéile sa seomra ealaíne, agus theilg mé na híomhánna ar fad a thóg na scoláirí ar mhéid mhór chun go bhféadfadh gach duine iad a fheiceáil agus léirmheas a dhéanamh orthu. Bhí ríméad orm a fheiceáil gur chruthaigh grúpaí scoláirí sraith íomhánna inar léiríodh duine dá gcomhscoláirí “ag eitilt” go réidh, san aer, trí fhoirgneamh na scoile. Trí úsáid a bhaint as teicníc cheamara beochan íomhá ar íomhá, tháinig na scoláirí ar chur chuige samhlaíoch, a bheadh ina fhócas lárnach d’fhíseán deiridh an tionscadail ina dhiaidh sin. Lá iontach. Is féidir leis a bheith an-dúshlánach nuair atá tú ag obair le grúpaí móra déagóirí a chinntiú go mbraitheann gach duine gur cuid den phróiseas iad. Chomh maith leis sin, súil a choinneáil ar chomh rannpháirteach is atá na scoláirí, agus an bhfuil siad rannpháirteach ar chor ar bith. Tá sé ríthábhachtach domsa go gcruthaím an spás sin do scoláirí le go mbeidh siad compordach agus muiníneach go leor le teacht chun cinn agus a bheith páirteach sa phróiseas cruthaitheach. Ba é sin an ghné ba dhúshlánaí, agus ba mhó tairbhe freisin, den tionscadal. Sven: Bhí meangadh gáire orm go minic agus mé ag obair ar an tionscadal seo. Tharla ceann de na heachtraí ba bharúla nuair a bhíomar ag labhairt faoin ealaíontóir / gcumadóir John Cage, agus faoina shaothar 4 minutes 33 seconds go háirithe. Léiriú é an saothar seo ina mbíonn an lucht féachana (agus an taibheoir) ciúin ar feadh na tréimhse ama sin go díreach, a leagann béim ar fhuaimeanna timpeallacha an spáis léirithe agus a thaispeánann nach bhfuil a leithéid de rud ann agus ciúnas i ndáiríre – agus gur féidir le go leor fuaimeanna teagmhasacha a bheith ina ‘n-ábhar’ nuair a thugtar an fócas oiriúnach dóibh. Bhíomar i lár ár leagan féin den saothar seo a uaslódáil ar aip nua 4’33’ ar iPhone – inár suí i gciorcal, ag éisteacht le fuaim dada – ár n-análú, díoscán na gcathaoireacha, torann ciúin na gcarranna lasmuigh. Féadfaidh an tréimhse seo a bheith an-fhada do ghrúpa déagóirí – ina suí go ciúin, ag déanamh iarrachta gan a bheith ag gáire, ag iarraidh a bheith ciúin. Bhí ‘babaí fíorúil’ / ‘ionsamhlóir naíonáin’ – ceann de na bábóga sin a bhíonn cosúil le babaí agus a gcaithfidh na scoláirí aire a thabhairt dóibh – ag duine de na scoláirí. Go tobann – i lár ár gciúnais – thosaigh an babaí ríomhairithe ag caoineadh. Bhris an gáire ar fad a bhí i bhfolach taobh thiar den chiúnas go tobann agus bhíomar ar fad ag gáire, agus an fhuaim á huaslódáil ar an aip le stóráil leis na céadta ‘ciúnas’ eile a taifeadadh ar fud na cruinne. Bhí go leor eachtraí mar seo ann – ina rabhamar ag díriú ar an éisteacht, agus ar mheán na fuaime, agus inar cuireadh iallach orainn dá réir dul i ngleic leis na gnéithe iomadúla spáis agus taithí nach mbeadh orainn aghaidh a thabhairt orthu dá mbeimis ag obair le meáin níos radharcaí. Faoi dheireadh na cónaitheachta, bhraith mé go raibh dinimic láidir ghrúpa againn, agus tuiscint mhaith ar an gcaoi a bhféadfaimis oibriú le chéile mar ghrúpa chun coincheapa níos deacra a thuiscint, agus chun oibriú i dtreo tionchar suntasach a imirt ar ár dtimpeallacht – mar a léiríodh leis an tsuiteáil fuaime rathúil lasmuigh den scoil. Turlough: Chuir freagairt na scoláirí ar bheith sa saothar físeáin meangadh mór gáire orm, go háirithe mar gur scoláire an-chiúin go deo í an cailín óg ar díríodh uirthi don phríomhphíosa físeáin, agus gur bhain sí an-taitneamh agus spraoi as an bpíosa a dhéanamh. Chomh maith leis sin, is éard a bhí sa chéad phíosa físeáin scoláire a raibh de chumhacht aige go tobann cathaoireacha a bhogadh lena intinn agus bhí sé an-bharúil a thaibhiú a fheiceáil os comhair na scoláirí. Bhí meangadh gáire orm na scoláirí ar fad a fheiceáil ag plé leis an ealaíontóir sa cheardlann fuaime. Bhain mé féin agus na scoláirí an-taitneamh as an turas taifeadta allamuigh go Baile Átha Cliath freisin. Ar an turas sin thaifeadamar gnáthfhuaimeanna na cathrach; cuimsíodh na fuaimeanna sin i bpíosa dealbhóireachta a rinne na scoláirí mar fhreagairt ar cheardlann fuaime Sven ina dhiaidh sin. Thug an chónaitheacht / an tionscadal ar fad dúshlán na scoláirí faoin ndearcadh faoi céard is ealaín ann agus céard nach is ealaín ann agus anois tá léirthuiscint níos leithne acu ar an méid a bhaineann le cleachtas ealaíne comhaimseartha. Cé na léargais ón tionscadal ar fiú a roinnt? (D’fhéadfadh cuma fhánach a bheith orthu, ach go bhfuil siad suntasach dar leatsa) Ar athraigh aon cheo mar gheall ar an tionscadal? Jennie: Caithfidh mé aitheantas a thabhairt don neart agus don tairbhe a bhaineann le caidrimh láidre chúlra a chothú chun tabhairt faoi chónaitheachtaí mar seo. Mar shampla, gan cúnamh, tacaíocht agus níos tábhachtaí fós fís chruthaitheach Oifig Ealaíon Chontae Chill Mhantáin agus Ionad Ealaíon Mermaid, ní tharlódh an tionscadal seo go brách. Tá mo chur chuige i leith caidrimh níos daingne agus níos tacúla tar éis éirí níos doimhne ná mar a bhí riamh, tógann sé seo am cinnte ach anois feicim an chaoi ar féidir le nasc leanúnach spleodrach le scoileanna eascairt as an gcineál seo caidrimh agus go n-airíonn gach duine a bhíonn páirteach i dtionscadal mar sin go bhfuil rud thar a bheith fiúntach déanta acu. Baineann an cur chuige céanna sin i ndáiríre leis an ealaíontóir a dhéanamh páirteach ann a luaithe is féidir roimh thionscadal, trí chomhrá nó trí chuairteanna suímh, agus a bheith in ann cumarsáid a dhéanamh an oiread agus is féidir sula dtosaíonn tionscadal. Tá an tionscadal seo tar éis go leor muiníne a chothú chun dul i ngleic le comhthéacsanna nua. John: Dúirt múinteoir ealaíne na scoile liom gur tháinig scoláire a bhíonn ciúin de ghnáth chuige i ndiaidh ceann dár seisiúin agus dúirt gur “poetry in motion” a bhí sa seisiún agus san obair a rinneamar. Gné eile is fiú a roinnt ón tionscadal é an leibhéal cúramach meáite mionsonraí a chothaigh an coimeádaí Jennie Guy, leis an scoil agus leis an múinteoir ealaíne Turlough, chun an próiseas a chomhordú agus a bhainistiú. Bhí an t-atmaisféar agus an bhuntimpeallacht chruthaitheach i bhfeidhm agus faoi lánseol, agus dá bhrí sin ba thionscadal é seo ar éirigh thar cionn leis gan aon fhadhb. Ceapaim go bhfuil líon mór rudaí athraithe mar gheall ar an tionscadal, cuid díobh ar féidir a thomhas, go leor eile nach bhfuil éasca a thomhas: i gcás na scoile, an Phríomhoide, na múinteoirí ealaíne, agus níos tábhachtaí fós na scoláirí, taithí a fháil ar an méid is indéanta, ar an méid is sodhéanta, ar an gcaoi le dul lasmuigh den churaclam scoile agus saothar nuálach agus dúshlánach a chruthú. Ceapaim go bhfuil athrú tagtha ar dhearcadh agus ar mheon daoine i leith na healaíne laistigh de chóras oideachais na meánscoile. Is fíor é sin i mo chás féin freisin mar ealaíontóir agus mar oideachasóir, gur féidir linn cleachtais ealaíne spleodracha, ábhartha agus spéisiúla a thabhairt isteach i gcóras oideachais na scoileanna, agus saothar agus caidrimh oibre a chruthú, ina gcuirtear caighdeán an tionscadail i gcrích leis an leibhéal rannpháirtíochta is airde. Sven: Ba chreatlach shuntasach é struchtúr an tionscadail – a bhunaigh an coimeádaí Jennie Guy – ar an gcéad dul síos. Phléigh mé cheana le ceardlanna ina raibh an t-ealaíontóir freagrach go hiomlán as creatlach thagartha a bhunú leis an bhfoireann teagaisc, leis an scoil agus leis na scoláirí. Sa chás seo, bhí an chreatlach choimeádaíochta a bhunaigh Guy le Turlough O’Donnell (an múinteoir ealaíne) ina bunús d’obair níos eachtrúla laistigh den chónaitheacht – ina raibh mé in ann mo chuid smaointe féin a fhorbairt mar fhreagairt ar shuim na scoláirí de réir mar a tháinig siad chun cinn / mar a d’fhorbair siad le linn na cónaitheachta. Mar gheall ar an timpeallacht a d'eascair as sin (laistigh de na seisiúin sin), bhíomar in ann bogadh go sciobtha agus neart a dhéanamh sna sé seachtaine, agus bhraith an tacaíocht agus an malartú leis na scoláirí, leis an múinteoir ealaíne agus leis an gcoimeádaí suntasach agus éasca le coinneáil cothrom. Airím gur athrú suntasach é tionchar na suiteála fuaime – struchtúr turgnamhach atá sách téagartha – a thógáil lasmuigh den scoil i mBaile Coimín ar an méid a rabhamar ag súil leis i dtéarmaí a fhad a d’fhéadfaimis dul leis an gcineál creatlach foghlama thurgnamhach seo. Níorbh é sin an toradh a raibh súil leis ar an tionscadal – agus níos mó ná an próiseas a bhain le saothar ealaíne meáite dar liom a tháirgeadh, bhí an-suntas ag baint lenár dtaithí ar bheith ag obair le chéile agus ar fhoghlaim le hiarraidh ar sheans chun ár dtimpeallacht a mhúnlú nó a chruthú – sa chás seo, timpeallacht na scoile. Creidim gur taithí luachmhar é ligean do na scoláirí lorg inléite a fhágáil ar a dtimpeallacht chun na teorainneacha idir an féin / an spás (an timpeallacht) / agus an t-údarás a shárú, a chruthaíonn cur chuige níos gníomhaí i leith spásanna daonlathacha a bhunú. Turlough: Tá cur chuige na beirte ealaíontóirí tar éis an-léargas a thabhairt do na scoláirí ar chleachtais ealaíne ealaíontóirí comhaimseartha. Tá sé de chumas ag saothar Sven i réimse na dealbhóireachta fuaime feasacht níos mó a chruthú sna scoláirí ar a dtimpeallacht, timpeallacht fuaime na scoile go háirithe. Mar mhúinteoir, bhí tionchar an-dearfach ag an bplé leis an mbeirt ealaíontóirí ar mo chur chuige féin i leith an teagaisc. Creidim go mbíonn sé an-tábhachtach mar mhúinteoir an t-ábhar a leathnú agus bíonn éifeacht spleodrach ag ealaíontóirí gairmiúla a thabhairt isteach sa seomra ealaíne leis na scoláirí. Creidim go mbeidh na scoláirí níos toilteanaí glacadh le smaointe nua mar gheall ar an tionscadal. Tá cuid de na scoláirí tar éis tosú ag fiosrú meáin nua leo féin fiú. Chruthaigh grúpa scoláirí amháin a bpíosa físeáin féin agus chuir siad isteach ar chomórtas dar teideal “Youth Connect” leis. Cuireadh a saothar ar ghearrliosta de 12 fhíseán a taispeánadh i bpictiúrlann Savoy an tseachtain seo caite. Níl amhras ar bith orm gur imir an chónaitheacht físeáin le John tionchar ar a gcur chuige agus go raibh sí ina bonn eolais dóibh. Tuairisc na Scoláirí Is muidne Shona O’Connor agus Aoife Mescall. Scoláirí muid a bhí páirteach sa chónaitheacht a d’oibrigh le Sven i réimse na dealbhóireachta fuaime. Ar an lá ar cuireadh in aithne do Jennie agus Sven muid, d’inis Sven dúinn faoina réimse oibre agus d’inis sé dúinn faoin méid ar theastaigh uaidh a d’fhoghlaimeoimis, mar rang, ón gcónaitheacht. Chun tús eolais a thabhairt dúinn ar chúrsaí bunúsacha fuaime, thug sé isteach seancheirníní dúinn a raibh seánraí agus fuaimeanna a bhí an-difriúil ag baint leo, agus sheinn sé dúinn iad ar a sheinnteoir ceirníní. Mhúin sé dúinn freisin an chaoi leis an seinnteoir a úsáid i rith an lae. Mar ghníomhaíocht thurgnamhach, roghnaíomar ar fad ceirnín gan ord ná eagar agus d’úsáideamar téip, páirín agus sceana chun an ceirnín a mharcáil agus a scríobadh chun fuaimeanna difriúla a dhéanamh ar an raon agus cur isteach air nuair a sheinnfí é. I ndiaidh dúinn obair a dhéanamh ar na ceirníní, shocraigh Sven tasc eile dúinn – dealbh de shaghas éigin a dhéanamh as clúdaigh na gceirníní. Shocraigh an rang ‘túr fuaime’ a thógáil trí na clúdaigh a théipeáil le chéile i mbealaí difriúla agus callairí beaga a shuiteáil sa dealbh. I ndiaidh cúpla seachtain, i dteannta Sven, tháinig an rang ar an smaoineamh go gcuirfimis suiteáil fuaim leathbhuan áit éigin sa scoil chun go dtabharfadh daoine eile na fuaimeanna a bhíonn thart orthu faoi deara. Chuimhníomar ar an gcoincheap go gceanglófaí ceithre challaire bheaga de cheithre chlár fhada adhmaid a chuirfí ar shíleáil an fhoscadáin lasmuigh de phasáiste na chéad bhliana. Agus muid ag réiteach chun ár smaoineamh a chur i láthair an Mháistir Burke, ár bpríomhoide, bhí orainn plean a dhéanamh chun an méid a theastaigh uainn a dhéanamh a insint dó, an chaoi a ndéanfaimis é, agus an toradh a bhí uainn ar an tionscadal seo. Roghnaíomar beirt daltaí le cabhrú le Sven an smaoineamh a chur i láthair an Mháistir Burke agus ón tús ar fad bhí sé toilteanach cabhrú linn chun an tasc a chur i gcrích. Tugadh jabanna difriúla do dhaoine difriúla a bhí le cur i gcrích acu agus iad páirteach sa tionscadal. Bhí roinnt daoine i gceannas ar an adhmad a réiteach le go bhféadfaí na callairí a cheangal díobh go daingean, agus chabhraigh daoine eile le roghnú na bhfuaimeanna a sheinnimis. Ní raibh aon duine in ann na fuaimeanna a theastaigh uainn a chur i láthair a chloisteáil i gceart ar dtús, ach d’oibrigh Sven agus an Máistir O’Donnell chun caoi a chur orthu agus iad a dhéanamh níos airde. An tseachtain dheireanach den chónaitheacht, tháinig Sven isteach agus chabhraigh sé linn gach rud a chur le chéile. Taobh amuigh, chabhraigh Sven le daltaí eile sreanga agus cáblaí a chur tríd an mballa le bheith cinnte go mbeimis in ann na callairí a nascadh leis an leictreachas, agus chabhraigh an chuid eile de na scoláirí le Donal, ar n-airíoch, chun na cláir a cheangal de shíleáil an fhoscadáin le go mbeidís réidh le nascadh. D’fhan scoláirí eile taobh istigh chun an cinneadh deireanach a dhéanamh faoin bhfuaim a sheinnfí agus faoi na fuaimeanna a bhí go maith le chéile. Críochnaíodh gach rud díreach nuair a bhuail clog dheireadh an lae. Chun buíochas a ghabháil le Sven agus Jennie as a ndúthracht agus as an am a chaith siad linn, bhronnamar buidéal fíona orthu mar chomhartha beag buíochais. Nuair a thosaigh daoine ag tabhairt na bhfuaimeanna faoi deara, mearbhall a bhí orthu ar dtús. Bhí siad fiosrach faoi fhoinse na bhfuaimeanna, mar nach raibh a fhios acu go rabhamar ag obair ar an tionscadal seo. Ach de réir mar a chuaigh siad i dtaithí air, d’éist siad go dlúth agus go cúramach leis na fuaimeanna, agus rinne siad iarracht a oibriú amach cén saghas fuaime a bhí á seinm. Braithimid gur bhain ár rang an-taitneamh as an taithí agus gur fhoghlaimíomar go leor faoin gcaoi nach ionann ealaín agus pictiúir agus péinteáil amháin. Réitíomar thar cionn le Sven agus cheapamar gur taithí thar a bheith spéisiúil agus nua é. Cheapamar freisin go raibh sé spéisiúil stopadh agus éisteacht le chomh héagsúil is ar féidir leis na fuaimeanna i dtimpeallacht áirithe a bheith. Tríd is tríd, creidimid gur éirigh thar barr leis an tionscadal agus bhaineamar taitneamh as bheith ag obair ar réimse ealaíne atá chomh difriúil sin. Spotsolas Ealaíontóir(í): John Beattie Fiosraíonn saothar Beattie smaointe agus dearcthaí a bhaineann le tuairimí ar an Ealaíontóir, an stiúideo, agus an caidreamh leis an lucht éisteachta/féachana. Trí mhodheolaíochtaí bunaithe ar phróiseas agus sonrach do chomhthéacs, baineann a shaothar leas as físeán, as líníocht, agus as idirghabháil thaibhitheach. Pléann sé le modhanna léirithe agus léiriúcháin, agus baineann a fhiosracht leis an chaoi a dtéann an breathnóir / an lucht féachana i ngleic leis an bpróiseas cruthaitheach nó a mbaintear as a chéile é. Rugadh John Beattie i 1980. Is as Contae Dhún na nGall ó dhúchas é ach cónaíonn agus oibríonn sé i mBaile Átha Cliath faoi láthair. Bhí sé ina ealaíontóir cónaithe le Fire Station Artists’ Studio, Baile Átha Cliath, 2006-2009; an tAcadamh Ibeirneach Ríoga, Baile Átha Cliath, 2010; Temple Bar Gallery & Studios, Baile Átha Cliath, 2011; agus Áras Nua-Ealaíne na hÉireann, Baile Átha Cliath 2011. Bhí taispeántais aige go náisiúnta agus go hidirnáisiúnta, agus i measc cuid de na taispeántas a bhí aige le déanaí bhí: Hennessy Portrait Prize, Gailearaí Náisiúnta na hÉireann, Baile Átha Cliath, 2014; A Line of Inquiry, Fort Dunree, seó aonair, Co. Dhún na nGall, 2014; An Artist, The Studio, and all the rest, seó aonair, an tAcadamh Ibeirneach Ríoga, arna choimeád ag Patrick Murphy, Baile Átha Cliath, 2012; Long Drawn Out, Catalyst Arts Gallery, Béal Feirste, 2013; The Artist Studio Series, The Process Room, Áras Nua-Ealaíne na hÉireann, Baile Átha Cliath, 2011; The Artist Studio Series (If The Art...), The Return Gallery, Institiúid Goethe, Baile Átha Cliath, 2010; Fragile, Le Carré Bonnat, Musée Bonnat, arna choimeád ag Francois Loustau, an Fhrainc, 2009. I measc na ngradam a bronnadh air tá: Dámhachtain Tionscadail na Comhairle Ealaíon, 2012; Dámhachtain Sparánachta na bhFísealaíon de chuid na Comhairle Ealaíon, 2006, 2007, 2010; Sparánacht Ealaíontóra Chomhairle Chontae Dhún na nGall, 2005, 2006, 2013; Gradam Open EV+A, Dánlann Ealaíne Chathair Luimnigh, 2005; Arts Humanities Research Board, 2003-2005. I mí an Mhárta 2015 beidh John Beattie ina chomhalta apexart i Nua-Eabhrac. Dírítear clár Chomhaltacht Chathair Nua-Eabhrac apexart ar mhalartú cultúrtha agus ar eispéiris nua, ag cur turas dian, taiscéalaíoch ar fáil i Nua-Eabhrac. D’ainmnigh Gavin Murphy, Stiúrthóir Pallas Projects, Baile Átha Cliath an Chomhaltacht a bronnadh. Sven Anderson Ealaíontóir é Sven Anderson atá ag obair idir Éire agus Stáit Aontaithe Mheiriceá ó 2001 i leith. Fiosraíonn saothar Anderson gníomh na héisteachta laistigh de chomhthéacsanna ilghnéitheacha ailtireachta, fisiciúla, sóisialta agus mothúchánacha. Ardán dioscúrsach é a chleachtas a fheidhmíonn trí idirghabháil ealaíonta, trí fhoilsiú acadúil, trí phróisis rannpháirteacha, agus trí dhearadh idirghníomhacha. Bhronn an Ghníomhaireacht Eorpach Comhshaoil an European Soundscape Award ar a thionscadal ealaíne poiblí MAP: Manual for Acoustic Planning and Urban Sound Design in 2014. Bíonn suiteálacha agus taibhithe Anderson seadánach, á gcothú ag sonraí na garthimpeallachta tógtha, ag coirp an lucht féachana/éisteachta, agus ag iarsmaí na staire agus na héiceolaíochta áitiúla, chun foirmeacha éiritheacha atá sonrach don suíomh a chur in iúl. Múinteoir(í): Turlough O'Donnell Céimí sa Mhínealaín de chuid an Choláiste Náisiúnta Ealaíne is Deartha, Baile Átha Cliath é Turlough O’Donnell. Cónaíonn agus oibríonn sé i mBaile Coimín, Contae Chill Mhantáin. Tá sé ag obair mar mhúinteoir Ealaíne i gColáiste Pobail Bhaile Coimín ó 1994 i leith. Tá a chleachtas ealaíne féin coinnithe aige le linn na tréimhse sin freisin. Agus é ag obair go príomha le holaphéint, úsáideann sé an gharthimpeallacht atá in aice leis mar phointe tosaigh; an baile ina bhfuil cónaí air; na sléibhte thar timpeall air; na haibhneacha agus na locha. Eile: (Coimeádaí, gníomhaireacht): Jenny Guy, Coimeádaí Ealaíontóir, taighdeoir agus coimeádaí neamhspleách í Jennie Guy atá lonnaithe i mBaile Átha Cliath. Comhbhunaitheoir agus stiúrthóir Mobile Art School í, tionscadal a bhfuil sé d’aidhm aige cleachtais ealaíne comhaimseartha a scaipeadh i gcomhthéacs bunscoile agus meánscoile, 2011-2014. Tá spéis aici na caidrimh idir scoláirí, scoileanna, ealaíontóirí, coimeádaithe agus ionaid taispeántais a leathnú, agus tá sí ag forbairt modheolaíocht straitéiseach i láthair na huaire a leagan béim ar fhéidearthacht an taifeadta chruthaithigh agus mheasúnaithe. Tá siad seo i measc na dtionscadal a rinne sí le déanaí: Thinking Visual, cónaitheacht ealaíontóra i gColáiste Pobail Bhaile Coimín (Co. Chill Mhantáin); The Artist Stays, cónaitheacht ealaíontóra 30 seachtain i St. Catherine’s N.S. (Co. Bhaile Átha Cliath); The Thinking Hand, sraith ceardlann i Scoil Náisiúnta Cros Bán (Co. na Mí); agus sraith ceardlann le haghaidh na féile Summer Rising in IMMA in 2014. Laistigh den mhodh cleachtais sin tá sí tar éis oibriú le go leor ealaíontóirí ag fiosrú meáin dhifriúla, lena n-áirítear: Sven Anderson, John Beattie, Stephen Brandes, Michelle Browne, Karl Burke, Rhona Byrne, Felicity Clear, Hannah Fitz, Jane Fogarty, Mark Garry, Russell Hart, Emma Haugh, Vera Klute, Vanessa Donoso Lopez, Ruth Lyons, Isabel Nolan, agus Tamarin Norwood. Bhí baint ag Jennie le déanaí le cónaitheacht taighde i RUA RED, agus d’fhorbair sí sraith nua tionscadal do na healaíona san oideachas idir Baile Átha Cliath, Cill Mhantáin, Ros Comáin, agus Muineachán. Ealaíontóir(í) John Beattie Sven Anderson Jennie Guy Múinteoir(í) Turlough O’Donnell Foirmeacha Ealaíne Leibhéal Scoil/Grúpa Blessington Community College Rannpháirtithe Réigiún Aois/Rang An Idirbhlian Dátaí MEÁN FÓMHAIR-NOLLAIG 2014 Naisc Ceannaireacht Ghníomhaireacht Wicklow Arts Office Comhpháirtithe eile Art School ??, Mermaid Arts Centre Snáitheanna Curaclaim EALAÍN / EOLAÍOCHT / MATAMAITIC / FISIC / OSPS / BÉARLA Taighde nó foilseacháin ábhartha I believe it is very important as a teacher to open the subject up and by getting professional artists into the art room with the students has an energising effect.Turlough O'Donnell