Agriculture: artists, drawing inspiration from the cultures

  • Agriculture: artists, drawing inspiration from the cultures
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    Women have always worked in the background of the agriculture world and the world of art, but in recent years they have more voices.”

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Women have always worked in the background of the agriculture world and the world of art, but in recent years they have more voices.”

This sentence Kerry, Laura Fitzgerald, the daughter of a farmer, which is one of a number of women artists currently displaying their work at the collision of the Earth exhibition in Visual Carlow, which runs until 2 September.

The connection between art and agriculture have always been strong for Laura.

In 2013, when completing a masters at the Royal College of art in London, she’s coming home to attend the green cert in Pallaskenry agricultural College in County Limerick.

While her father retired from the suckling of cultures, the influence of growing up on a farm at work Laura is manifested in her paintings at an exhibition in Carlow.

“It’s a symbol of how there have been so many changes in agriculture and how these hay sheds are currently regarded as dinosaurs from the past, but for me as a child in the hay barn was always a place to rest and sleep,” she says.

“I will be sad if this space was lost; I think we have something to lose if we start to build a super-farms and if spaces, what the hay shed to be eradicated from the landscape.”

The second picture Laura at the exhibition of stones, which she jokes that “Kerry grows well”.

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“For me, stones is a metaphor for loneliness and isolation of cultures. My dad farmed most of his life, but it is such an isolating occupation, and many things are not discussed”, – she explains.

While gelatin, beef fat and milk are the materials usually associated with the farm yard, the young artist Watchorn Katie, who comes from a dairy farm in Bilboa, Co Kilkenny, tries to incorporate the objects of the farm in its work as much as possible.

A piece of Katie’s ‘long live the cow, the cow died-a part of a larger project called ‘BalehomeBalehome’.

The piece has a milking Platform is made from beef fat and wax, and she says the project was inspired by the 1980-ies the parlor of the House.

“I wanted to look at the milking parlor as a hall and explore the small farming practice and where he’s going at the moment. It looks like the exit,” she says.

“These milking parlours, which were built in the 1980-ies of what you may think is a permanent material of concrete now pulled out and replaced to your rotary or mechanical shops”.

Another interesting item for Cathy’s notes from grandma’s journal the names of the cows they kept on the farm, and other invoices and receipts that have been stored for many years.

“My grandmother married my grandfather in the 1950-ies and has kept track of all the cows on the farm and it is a very personal and sensitive. She had very specific names. Each farm has something similar, I guess,” says Katie.

Daughter “the current herd descends from many of them we have not bought many cows there, the daughter, daughter.”

Katie also chose ‘Balehome Balehome’ for the title of her project because it is a concrete cattle call her family.

Katie studied at the National College of art and design in Dublin and always focused on agriculture.

While she is the only member of his family to go on and study art, she feels that her family, including her father Cecil and mother Sandra, creative side.

“My eldest brother is a carpenter-the teacher of technology graphics. My mom would be glad was made, but it would not be feasible, so she’s a nurse,” she says.

“My father is someone I would have been interested. It’s great with their hands, like many farmers. It is brilliant to come up with ideas for things, without spending a fortune.

“So I think there’s a lot of creativity there.”

It shed light on rural culture’

The complex relationship of Ireland with the humble potato is examined in the film Deirdre O’mahony-the hard returns’ which shows at the exhibition Carlow.

“I wanted to see the picture of the potato and how it arrived in Europe from South America and how it stimulated the growth of population in Ireland before the famine and fueled the economic growth of Europe,” she says.

Deirdre hopes that the work can help start a conversation around food sustainability.

“We are very extreme weather conditions, so what motivates our practice, the creation of food will have to change. We need to figure out how we can become safer,” she says.

She teamed up with the Committee to hold a series of negotiations with interested parties to discuss how the problems of agriculture can be met.

“They will share knowledge and ideas about what we can do to solve the problem. It is the bridge that the gap between agriculture and culture because agriculture is the word culture in it, so it was and will always be that connection.”

This is not the first rural project, the Limerick woman had taken. In 2007, she transformed into a closed post office in Kilnaboy, County Clare in her project ‘x-PO’, to make it once again a meeting place for people.

“It was all based on the idea of the Renaissance that a casual meeting place where people can just meet each other,” she says.

Meeting on the Earth the exhibition gave voice to a sometimes invisible rural Ireland, she says.

“People who don’t normally go to exhibitions in galleries, which can only be a positive thing, and shed light on rural culture, I think, often a guilty secret, and of course has given a voice to women”.

Set his sights on the realities of the meat breeding

The Artist Maria McKinney. Photo: Clive Wasson

The work of Mary McKinney with a double-muscle’ puts Belgian blue Bull in focus in 11-minute video was the winner for outstanding achievement in the exhibition Carlow.

The video, which was filmed in Dovea genetics in Dublin, shows the Belgian blue bull is dressed in a mixture of semen straws on the back.

She said that she wanted the piece to start a conversation on breeding and genetics.

“This double muscle Belgian blue Bulls were created through years and years of breeding,” says Maria (above), who hails from Kincasslagh in County Donegal.

“I wanted to show how genetics are used in animal husbandry and I wanted to be direct and sincere before and the animal wanted to be very present in the play.

“I thought about the connection between how the Belgian Blue is genetically sculpted and how much sculpting was done to make his genetics for many years.”

While she explains that animals are “maintained” to Dovea genetics, she wanted to convey to consumers and not farmers where their food comes from.

“I wanted to make consumers aware of animal life and the seizure life experience Belgian blue and shock them a little, I think,” she says.

Maria says that the idea to use semen straws in her work began in 2011, when she made a garland of straw for the local Carndonagh show in Donegal.

She later contacted Dovea at the national Ploughing Championships that were interested in the project with her and she helped Committee Dr. Donagh berry and ucd Professor David MacHugh and Michael Daugherty.

Mary is not from a farming background, but says her rural upbringing influenced her work.

“My parents were farmers, but my grandparents were. I would have driven the neighbors sheep and cattle,” she says.

“I’m not a stranger to agriculture, so it has always been part of my job, and I hope to do another project on the culture of meat and the impact that would have on the cattle industry in the world.”

Miriam was able to see the picture after moving

Miriam O’connor farm with her sister and mother in cork

In 2013, after the death of her brother, Miriam O’connor was winding system fishing rod from her life as a photographer on different kinds of art and culture in Dublin to return home to run her family farm in Clondrohid, near Macroom in co cork.

Her father also died, it was up to Miriam and her sister sewed on a beef farm along with their mother.

While Miriam says that it was a difficult step in the beginning, she managed to find a way to mix agriculture with her passion for photography.

“It all started when I was doing some fencing with Sheila in the box and we need some materials from the cooperative, but I don’t even know the names of the materials at this stage,” she says.

“So I decided to photograph them and bring them to the cooperative, and they could tell me the names of these things. So what was the catalyst moment when I thought, maybe the photo can be in demand and can work as a document of the farm.”

This work includes a thorough photographic log all the gates in the farmyard, a certain path on the earth at different times of the year and the collection of all buckets on the farm, plus endless images of her mother.

Miriam says that the project has many stages – “not unlike grief,” and helped her in the transition from cities to rural life.

“It was a response to moving to a farm and suddenly being the guardian of the earth and that this transition entails. It really was such an unexpected move,” says Miriam, who still lectures at Griffith College, Dublin.

“I had no intention to make this work, but it helped and is constantly growing and never ending as the work of the farmer can never afford to be prepared or nothing to do.”

Says Miriam, agriculture dynamic with her sister and mother can range from “uniting to difficult”, but she feels that for the most part it brought them closer together.

“I’m back, to help keep the show on the road, always a part of the account that show on the road to the farm. It’s not easy, but there is that trust between us, we work well together. I helped on the farm when I was a kid. There are five of us in the family it was, but it is quite another thing when your name.

“There is a responsibility and with that comes a large burden, but there are times when you’re out in the field and understand that there is Shine and what keeps you grounded.”

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