Horizons work at 'Coalescence' exhibition, The Lavit Gallery, Cork, Ireland, June-July 2024; (from left) Submerged Horizon with Skellig Michael, Star Wars and water camouflage, 2017; Subsumed Horizon with Skellig Michael, screensavers and camouflage images, 2022; Lost Horizon after ‘Moon Light Scene' 'In the Dargle Country' 'On Coming Storm' and 'Figure in a Landscape with Waterfall' by J. A. O’Connor 1832, 2019; Beyond the Horizon after 'A Thunderstorm' by J.A. O'Connor 1832, woodland camouflage and plastic bottle vectors, 2018.
Horizons work at 'Coalescence' exhibition, The Lavit Gallery, Cork, Ireland, June-July 2024; (from left) Submerged Horizon with Skellig Michael, Star Wars and water camouflage, 2017; Subsumed Horizon with Skellig Michael, screensavers and camouflage images, 2022; Lost Horizon after ‘Moon Light Scene' 'In the Dargle Country' 'On Coming Storm' and 'Figure in a Landscape with Waterfall' by J. A. O’Connor 1832, 2019; Beyond the Horizon after 'A Thunderstorm' by J.A. O'Connor 1832, woodland camouflage and plastic bottle vectors, 2018.
Horizons work at 'Coalescence' exhibition, The Lavit Gallery, Cork, Ireland, June-July 2024; (left) Entangled Horizon 3, ink pen on paper, 52 x 70 cm; (right) Entangled Horizon, watercolour on paper, 50 x 69 cm, both 2024 and both after 'View of Powerscourt Waterfall' by G. Barret 1760.
Horizons work at 'Coalescence' exhibition, The Lavit Gallery, Cork, Ireland, June-July 2024; (left) Entangled Horizon 3, ink pen on paper, 52 x 70 cm; (right) Entangled Horizon, watercolour on paper, 50 x 69 cm, both 2024 and both after 'View of Powerscourt Waterfall' by G. Barret 1760.
The original painting by George Barret’s 18th-century paintings of the 'View of Powerscourt Waterfall' (he painted several versions - one is in the National Gallery of Ireland and another is in the Walker Art Gallery, Liverpool) used as source material, to create drawings and paintings and develop digital 3-dimensional virtual landscapes.
Exploring ideas of disrupted representation this drawing uses a combination of digital and analogue procedures. The first stage was to make several digital versions of ‘View of Powerscourt Waterfall’ by G. Barret 1760 by changing the settings for detail and edges in Photoshop. Printing and tracing the images as line drawings and projecting them onto paper, turning them back to front and upside down to create a framework, and then tracing over the lines with an ink pen.
Exploring ideas of disrupted representation this painting uses a combination of digital and analogue procedures. The first stage was to make several digital versions of ‘View of Powerscourt Waterfall’ by G. Barret 1760 by changing the settings for detail and edges in Photoshop. Printing and tracing the images as line drawings and projecting them onto paper, turning them back to front and upside down to create a framework to hold the colours. Then painting one colour at a time ambiently across the entire surface so that the same colour never touches.
Exploring ideas of disrupted representation this drawing uses a combination of digital and analogue procedures. The first stage was to make several digital versions of ‘View of Powerscourt Waterfall’ by G. Barret 1760 by changing the settings for detail and edges in Photoshop. Printing and tracing the images as line drawings and projecting them onto paper, turning them back to front and upside down to create a framework, and then tracing over the lines with an ink pen.
Exploring ideas of disrupted representation this drawing uses a combination of digital and analogue procedures. The first stage was to make several digital versions of ‘View of Powerscourt Waterfall’ by G. Barret 1760 by changing the settings for detail and edges in Photoshop. Printing and tracing the images as line drawings and projecting them onto paper, turning them back to front and upside down to create a framework, and then tracing over the lines with an ink pen. It has been cropped and blurred so that Blender could transform it into a 3-D landscape.
Exploring ideas of disrupted representation this drawing uses a combination of digital and analogue procedures. The first stage was to make several digital versions of ‘View of Powerscourt Waterfall’ by G. Barret 1760 by changing the settings for detail and edges in Photoshop. Printing and tracing the images as line drawings and projecting them onto paper, turning them back to front and upside down to create a framework, and then tracing over the lines with an ink pen.
Entangled Horizon 2 drawing of digitised images of ‘View of Powerscourt Waterfall’ by G. Barret 1760, created by changing the detail and contour parameters of the source image, projecting the images onto paper, tracing them and then drawing over the traced images with ink rendered as a virtual digital 3-dimensional landscape, with the drawing overlayed and developed in Blender.
Detail of Entangled Horizon 2 drawing of digitised images of ‘View of Powerscourt Waterfall’ by G. Barret 1760, created by changing the detail and contour parameters of the source image, projecting the images onto paper, tracing them and then drawing over the traced images with ink rendered as a virtual digital 3-dimensional landscape, with the drawing overlayed and developed in Blender.
Entangled Horizon 2 drawing of digitised images of ‘View of Powerscourt Waterfall’ by G. Barret 1760, created by changing the detail and contour parameters of the source image, projecting the images onto paper, tracing them and then drawing over the traced images with ink rendered as a virtual digital 3-dimensional landscape, with the drawing overlayed and developed in Blender.
Detail of Entangled Horizon 2 drawing of digitised images of ‘View of Powerscourt Waterfall’ by G. Barret 1760, created by changing the detail and contour parameters of the source image, projecting the images onto paper, tracing them and then drawing over the traced images with ink rendered as a virtual digital 3-dimensional landscape, with the drawing overlayed and developed in Blender.
Entangled Horizon 2 drawing of digitised images of ‘View of Powerscourt Waterfall’ by G. Barret 1760, created by changing the detail and contour parameters of the source image, projecting the images onto paper, tracing them and then drawing over the traced images with ink rendered as a virtual digital 3-dimensional landscape, with the drawing overlayed and developed in Blender.
Detail of Entangled Horizon 2 drawing of digitised images of ‘View of Powerscourt Waterfall’ by G. Barret 1760, created by changing the detail and contour parameters of the source image, projecting the images onto paper, tracing them and then drawing over the traced images with ink rendered as a virtual digital 3-dimensional landscape, with the drawing overlayed and developed in Blender.
Detail of Entangled Horizon 2 drawing of digitised images of ‘View of Powerscourt Waterfall’ by G. Barret 1760, created by changing the detail and contour parameters of the source image, projecting the images onto paper, tracing them and then drawing over the traced images with ink rendered as a virtual digital 3-dimensional landscape, with the drawing overlayed and developed in Blender.
Detail of Entangled Horizon 2 drawing of digitised images of ‘View of Powerscourt Waterfall’ by G. Barret 1760, created by changing the detail and contour parameters of the source image, projecting the images onto paper, tracing them and then drawing over the traced images with ink rendered as a virtual digital 3-dimensional landscape, with the drawing overlayed and developed in Blender.
Uncut template for Build Your Own Horizon BYOH/Uillinn a site-specific public participation project, created for the 'Bealtaine Artist in Residence' program at Uillinn, West Cork Arts Centre, in association with Cork County Council, May 2022. This work will be exhibited as part of the Skibbereen Arts Festival in July 2022.
Uncut template for Build Your Own Horizon BYOH/Uillinn a site-specific public participation project, created for the 'Bealtaine Artist in Residence' program at Uillinn, West Cork Arts Centre, in association with Cork County Council, May 2022. This work will be exhibited as part of the Skibbereen Arts Festival in July 2022.
Cut-out prototype for Build Your Own Horizon/Uillinn a site-specific public participation project, created for the 'Bealtaine Artist in Residence' program at Uillinn, West Cork Arts Centre, in association with Cork County Council, May 2022. This work will be exhibited as part of the Skibbereen Arts Festival in July 2022.
This drawing explores ideas of disrupted representation and uses a combination of digital and analogue procedures to create the image. Using nature camouflages as source material, it was created by projecting the images onto paper and tracing them, and finally, tracing over the lines with an ink pen.
Drawing of digital images of J.A. O'Connor and screensavers. This drawing explores ideas of disrupted representation and uses a combination of digital and analogue procedures to create the image. The first stage was to digitise the original painting by O'Connor and make several versions by changing the settings for detail and edges in Photoshop. Printing and tracing the images as line drawings, which were projected onto paper and traced along with drawings from digital screensavers, and finally, tracing over the lines with an ink pen.
Drawing of images of Cork Harbour and Mondrian Compositions. This drawing explores ideas of disrupted representation and uses a combination of digital and analogue procedures to create the image. It is a drawing of images of Cork Harbour from photographs and Mondrian painting compositions, created by projecting and tracing the images onto paper, and finally, tracing over the lines with an ink pen.
Drawing of collaged digital images of Skellig Michael and screensavers. This drawing explores ideas of disrupted representation and uses a combination of digital and analogue procedures to create the image. The first stage was to make several versions by changing the settings for detail and edges in Photoshop of a found image of Skellig Michael. Printing and tracing the images as line drawings, which were projected and traced onto paper, and finally, tracing over the lines with an ink pen.
Drawing of digital images after J.A. O'Connor, woodland camouflage and plastic bottles, leaf and nuclear explosion vectors. This drawing explores ideas of disrupted representation and uses a combination of digital and analogue procedures to create the image. The first stage was to make several versions of the original painting by O'Connor by changing the settings for detail and edges in Photoshop. Printing and tracing the images as line drawings, which were projected and traced onto paper along with drawings of woodland camouflage, plastic bottles, leaf and nuclear explosion vectors, and finally, tracing over the lines with an ink pen.
Painting of digital images after J.A. O'Connor painted in the style of camouflage. This painting explores ideas of disrupted representation and uses a combination of digital and analogue procedures to create the image. The first stage was to digitise the original paintings ‘Moon Light Scene' 'In the Dargle Country' 'On Coming Storm' and 'Figure in a Landscape with Waterfall' by J. A. O’Connor 1832 by changing the settings for detail and edges in Photoshop. Printing and tracing the images as line drawings, which were projected onto paper and traced to create a framework to hold the colours, and finally, it was painted one colour at a time ambiently across the entire surface so that the same colour never touched, each shape painted as a separate unit. Exhibited at VUE, Dublin 2019 with Oliver Sears Gallery.
Painting of digital images of Skellig Michael, screensavers and camouflage, painted in the style of camouflage. This painting explores ideas of disrupted representation and uses a combination of digital and analogue procedures to create the image. The first stage was to digitise the found image of Skellig Michael by changing the settings for detail and edges in Photoshop. Printing and tracing the image as a line drawing, along with images of screensavers, which were projected onto paper and traced to create a framework to hold the colours, and finally, it was painted one colour at a time ambiently across the entire surface so that the same colour never touched, each shape painted as a separate unit.
Painting of digital images after J.A. O'Connor and screensavers painted in the style of camouflage. This painting explores ideas of disrupted representation and uses a combination of digital and analogue procedures to create the image. The first stage was to digitise the original painting 'In the Dargle Country' by J.A. O'Connor 1829 by changing the settings for detail and edges in Photoshop. Printing and tracing the image as a line drawing along with images from screensavers, which were projected onto paper and traced to create a framework to hold the colours, and finally, it was painted one colour at a time ambiently across the entire surface so that the same colour never touched, each shape painted as a separate unit.
Painting of digital images after J.A. O'Connor, woodland camouflage and plastic bottle vectors painted in the style of camouflage. This painting explores ideas of disrupted representation and uses a combination of digital and analogue procedures to create the image. The first stage was to digitise the original painting 'A Thunderstorm' by J.A. O'Connor 1832 by changing the settings for detail and edges in Photoshop. Printing and tracing the image as a line drawing along with images from woodland camouflage and plastic bottle vectors, which were projected onto paper and traced to create a framework to hold the colours, and finally, it was painted one colour at a time ambiently across the entire surface so that the same colour never touched, each shape was painted as a separate unit. Exhibited as part of 'Press Play' Oliver Sears Gallery, Dublin 2019.
Painting of images of Cork Harbour from photographs and Mondrian compositions painted in the style of camouflage. This painting explores ideas of disrupted representation and uses a combination of digital and analogue procedures to create the image. The first stage was to trace the photograph of Cork Harbour along with images of Mondrian compositions which were projected onto paper and traced multiple times to create a framework to hold the colours, and then, it was painted one colour at a time ambiently across the entire surface so that the same colour never touched and each shape was painted as a separate unit. Exhibited as part of 'Press Play' Oliver Sears Gallery, Dublin 2019.
Painting of digital images of Skellig Michael and Star Wars and water camouflages painted in the style of camouflage. This painting explores ideas of disrupted representation and uses a combination of digital and analogue procedures to create the image. The first stage was to digitise the original found image of Skellig Michael by changing the settings for detail and edges in Photoshop. Printing and tracing the image as a line drawing along with images from Star Wars and water camouflages, which were projected onto paper and traced to create a framework to hold the colours, and finally, it was painted one colour at a time ambiently across the entire surface so that the same colour never touched, each shape was painted as a separate unit. Exhibited as part of 'Salon' 2018 and 'Press Play' Oliver Sears Gallery, Dublin 2019.
Studies for woodland, pink, sea and desert camouflage for Skellig Michael, created by changing the detail and contour parameters of the found image and tracing and duplicating the projected image onto paper.
Blurred studies for woodland, pink, sea and desert camouflage for Skellig Michael, created by changing the detail and contour parameters of the found image and tracing and duplicating the projected image onto paper.
Blurred and non-blurred studies of colour separation camouflage for Skellig Michael fragmented and duplicated into images of floating photo screensavers, created by changing the detail and contour parameters of the images and tracing the projected images onto paper.
Colour separation images, cyan, yellow, black and magenta of Skellig Michael have been superimposed into fragmented and duplicated images of floating photo screensavers, created by changing the detail and contour parameters of the images and tracing the projected images onto paper.
Multiple images of colour separation floating photo screensavers superimposed onto images of Skellig Michael, created by changing the detail and contour parameters of the images and tracing the projected images onto paper.
Images of floating photo screensavers superimposed onto a blurred colour separation image of Skellig Michael painted as blurred colour separations, created by changing the detail and contour parameters of the image and tracing the projected images onto paper.
Image of colour separation floating photo screensavers superimposed onto a fragmented and duplicated image of Skellig Michael painted as colour separations, created by changing the detail and contour parameters of the image and tracing the projected images onto paper.
Posterised found photograph of Skellig Michael, a drawing based on this image has been used for the design of the Skellig camouflage, part of the research material, created by changing the detail and contour parameters of the image.