20 Jun. 2017

The Model is in Vogue (quite literally)

The Model is proud to announce that we have been featured in Vogue’s ‘Where The Vogue Editors Are Holidaying This Summer’ article. The article, which features Sligo alongside holiday havens like Italy, Ibiza and Greece, sees the Vogue U.K. team choose their top holiday destinations for 2017. Sligo was top pick for news editor Scarlett Conlon, who was lured to Yeats’ country by its cultural and artistic history, boutique shops, beaches and bustling restaurant scene.

Alongside The Model, Sligo businesses The Cat and The Moon, Breeogue Pottery, Liber and Mullaneys got an international shout out for their artisan merchandise. The Model was featured in the ‘Don’t leave without’ section and we couldn’t agree more. Visiting Yeats’ country without stopping by to see an original Yeats in our current exhibition Jack. B Yeats: Lives or taking in some contemporary art with Ronnie Hughes: Strange Attractors would be sacrilege!

The Model is also delighted to be able to contribute to the bustling restaurant scene that is luring international customers to Sligo’s pale, sandy shores. The Model Café is now open for business with a menu that offers a little more then local cuisine. Our new chef, Juan Sevilla Jimenez has intertwined elegant, simple dishes made with the finest local produce with a Mexican twist. So come on by and see for yourself why The Model is listed as a must see by Vogue!

To see the full article, click here

Posted By

Rebecca Kennedy

13 Jun. 2017

Interview with our new Cafe manager Juan Sevilla Jimenez

The Model Café is open for business. So now is the perfect time to get to know the chef behind Sligo’s newest café. Juan Sevilla Jimenez is originally from Mexico but now calls Sligo home. We caught up with him to get the low-down on his grand plans for The Model Café.

How did you end up coming to Ireland?

I was living in New York. I was working in an Irish pub, where I had been working for four years. I used to be a bartender. I met my girlfriend there. She was the waitress. I met her the first year I worked there. We worked together for two years. Then we decided to move to Ireland. I know two Mexican guys who are in the same boat. They met Irish girls abroad and ended up moving to Ireland with them. Small world!

What was your first impression of The Model?

The first time I came to The Model was for a Baroque concert. My partner plays the flute and she is part of the group. She has been playing with the Baroque group for seven or eight years. When I walked into The Model and thought it was a really nice place: it’s really tranquil and light.

Where did you work before?

I worked in Fabbrica, the Italian restaurant on Rockwood Parade. I was the second chef there. It was really nice. The staff worked very well together but I decided to come to The Model because I was looking for a new opportunity and a new experience.

What’s your vision for The Model?

I have a lot of ideas. The atrium is a calm & beautiful, it would be a really nice place to have dinner! I’ve also got a lot of ideas for the menu. I would like to create more breakfast dishes and devote one day a week to serving Mexican dishes. A Mexican day could be great too!

Posted By

Rebecca Kennedy

8 Jun. 2017

The Model Cafe is open!

Foodies and caffeine addicts alike will be delighted to hear that The Model’s much-anticipated brand new café has opened. Taking pride of place in the heart of The Model atrium, The Model Café will make a fantastic addition to the bustling café scene in Sligo town. The menu at The Model Café is designed to showcase the finest of Sligo produce to reflect the unique flavor of the county, as well as interweaving a Mexican twist with local cuisine thanks to our fabulous chef Juan.

The Model Café caters to all your caffeine needs with all the usual suspects: strong Espressos, smooth lattes, indulgent hot chocolates as well as stocking a selection of refreshing herbal teas. To keep us happy during this unusual spell of warm weather (fingers crossed that it sticks around) The Model offers chilled soft drinks like San Pellegrino. For all you healthnuts out there, The Model Café also has a fine array of Vit-Hit to replenish and revive!

If you are stopping whilst out on a leisurely stroll or just out to enjoy a light brunch in the beautiful surroundings of The Model atrium, then the pastries selection is sure to put a smile of your face. The selection of delicacies includes savory croissants and delicious Danish swirls, all freshly baked and made with the finest ingredients. If it’s lunch you’re after then The Model Café has you covered. Featuring dishes like the The Mexican: spicy chorizo & crushed avocado, roasted peppers and tomato on a bed of lush mixed salad served in a wrap, ciabbatta or in a classic salad. The Model Café serves a menu of elegant, simple dishes with an exotic edge.

Posted By

Rebecca Kennedy

7 Jun. 2017

Yeats Day and The LilyLolly Craftfest Event

Join us at The Model to celebrate Yeats Day and The LilyLolly Craftfest with two fantastic events:

Jack Yeats at The Model Lunch Time Tour, 1.30 pm, Tues. 13, Jun
Come and join us on Yeats Day for a walk through our current exhibitions: Jack B. Yeats; Lives and Ronnie Hughes: Strange Attractors.

Nora Niland Lecture, 7pm, Wed. 14, Jun.
‘One a Gazelle; the Eva Gore-Booth that Yeats never knew’ delivered by Professor Sean Golden.

Posted By

Rebecca Kennedy

6 Jun. 2017

Ronnie Hughes; Strange Attactors - Educational Booklet

The education department has produced a beautiful and educational booklet for kids and parents to take along to Ronnie Hughes: Strange Attractors.

‘Using this guide, children and their parents can have hours of fun navigating the exhibition Strange Attractors by Ronnie Hughes. Engaging and interactive, this guide is packed with word searches, puzzles and drawing ideas to help you unlock clues to unraveling the meaning behind the many layers of colour and abstract patterns in the artist’s paintings. The children’s guide is free of charge and can be picked up at The Model reception.’_ – Marie Louise Blaney

Posted By

Rebecca Kennedy

5 Jun. 2017

Italian students enjoy their experience at The Model

One would be hard pushed to find a harder working set of individuals outside of the legion of volunteers and students whose commitment, talent and dedication, keep The Model ticking over, year round. The Model was recently lucky enough to play host to three Italian students who spent a fortnight of their Erasmus year in Sligo. The students: Martina Pensato, Anna Biferale and Desire Spigali came from Ladispoli, Lazlo, Italy to Ireland to gain experience in the tourism industry and improve their English. During their work experience, the girls learnt the inside business of what it takes to run a contemporary arts centre like The Model. Think Andy, Anne Hathaway’s much harassed character in ‘The Devil wears Prada’ and you’ve got the gist. Just kidding!

In the course of their stay, the student’s invigilated exhibitions, assisted at the front desk and even helped out in the marketing department, where their tech savvy skills were put to good use. Martina Pensato found this exposure to the inner workings of the art world the most valuable aspect of her experience in The Model: ‘I liked the work at the Model because I like to work with art,’ said Martina, ‘We were happy that we choose to work in The Model because we learned that a museum is not just a destination for a day trip, it has it’s own culture that is a way of life.’

Where Martina enjoyed the work, Anna Biferale was preferred the social aspect that being part of The Model entails. ‘The people of The Model are very kind. We are grateful for the opportunity to work with the staff.’ Desire Spigali agreed. ‘The staff of The Model have made the two weeks of our Erasmus that we have spent in Sligo worth our while.’ The students also managed to teach us a thing or two. Several members of The Model staff are now fluent in multiple Italian curse words, which will come in handy, should we are to ever find ourselves offended in Italy.

The Model would like to take this opportunity to publicly thank Martina Pensato, Anna Biferale and Desire Spigali for their hard work. We wish you the best of luck in your future!

Posted By

Rebecca Kennedy

2 Jun. 2017

Ronnie Hughes: Strange Attractors - Walk Through

Ronnie Hughes began his career as an artist after receiving an MA in Fine Art from the University of Ulster. Since then, Hughes has had numerous solo shows in Ireland and taken part in prestigious group shows in New York, Chicago, London and Germany. As an award-winning artist, Hughes has been the selected for highly sought residencies such as a one-year residency in New York, and three-month residencies at Banff Arts Center, Canada and Bemis Arts Center, Nebraska.

As part of a national tour that will see Hughes’ work travel to Limerick City Gallery and The Royal Hibernian Dublin, Hughes’ latest solo show has opened in The Model. ‘Strange Attractors’ is an exhibition of elegant abstracts. Hughes work is complex: registering everything from an existential longing to understand the world to theoretical psychics. Hughes’ work is also aesthetically pleasing, with blasts of clashing colour and kitschy geometrics reminiscent of late 1960’s American interior design.

The ‘Strange Attractors’ journey begins in gallery A. Gallery A houses some of Hughes, small scale more intimate works. Colour Mechanics, (2016) Klacto, (2016) and Polychrome (2016) are stand out pieces. The theory of using a confined small to showcase Hughes smaller works continues into Gallery B, which showcases dynamic pieces like Cascade (2017), Palette (2017) & Limbo (2017). Gallery C, D and East present Hughes’ larger, visually dominating works. The lofty spaces balances the larger pieces well, particularly Badass (2016) and Klikkak (2015), by setting them opposite other pieces, creating a confrontational effect between these strange attractors.

As well as painting, Hughes show offers a series of gouache drawings. The symmetry of line created within Propus I, Propus II and Propus III, located in Gallery C, are heavily reminiscent of infamous imagery of theoretical physics and science fiction, making the exhibition a very optically interesting experience. Hughes ‘Strange Attractors’ is not limited to geometrical forms. With the exhibition, strokes of loose, free-forming chaotic lines and shapes appear amongst more, formal structured shapes.

Ronnie Hughes: Strange Attractors will be on show in The Model until 22. Jun. 2017.

Posted By

Rebecca Kennedy

31 May. 2017

My Pick - Heike Thiele

As part of our My Pick series we asked Heike Thiele, Assistant Curator at The Model, to choose her favorite work and tell us why.

‘A Sunday Morning in Sligo’ is a watercolour that depicts a young man jumping from a mud bank to a pool below. A friend watches him from the pool as the young man is caught mid-jump, frozen in a fetal position. Onlookers watch the fun as young men splash about in the water, climb the mud bank and plummet once more to the water below.

I like this watercolour in particular because it has an immediacy that some of J.B. Yeats paintings sometimes lack as often they seem to be set on a stage.

‘Sunday Morning’ seems of vital importance, like it’s an experience from his life. The watercolor feels as though it is autobiographical. Maybe J.B. Yeats was swimming himself in the water watching another lad jump in and this is a memory.

I also like that the water is not the sea but that it’s a bit mucky. I find that it feels like a real summer experience and that it’s just gorgeous. I also like that it’s not fully formed and has very few visible outlines. It’s freer than other J.B. Yeats work. It’s really quite painterly and it’s less of a drawing.

‘A Sunday morning in Sligo,’(1898) by Jack B. Yeats is currently featured in “Lives” a Model exhibition in The Niland Gallery. “Lives” will be on display until 01. Oct. 2017.

Posted By

Rebecca Kennedy

30 May. 2017

Emer Mc Garry interviews Ronnie Hughes on Strange Attractors

The following text is the synthesis of a number of conversations between the artist Ronnie Hughes and curator Emer Mc Garry regarding his artistic practice.

EM: What is it that excites you about painting?

RH: That’s a very complex question but the obvious things are formal qualities – colour and shape, their relationship and how these are orchestrated to create sensations of pattern, movement and rhythm. I’m also very attuned to the sensuous qualities of paint and how a painting’s surface can hold or reveal a sense of how it was made i.e. the artist’s touch (or not). Allied to the content matter this is often a big factor in how we respond as viewers. Thirdly I like that a painting surface can often contain and reveal the history of its own making – time condensed, as it were.

EM: Can you expand on this idea of the visual compression of time?

RH: Well, bearing in mind that a painting may be over a number of months or even years, a work can often betray the physical evidence of this process in different way; accumulations of paint or, conversely, signs of attrition and sometimes by the sheer complexity of image parts. In my own work the process is one of trail, error and response and I’m interested in ‘finding’ the finished work. When a particular state doesn’t feel resolved I like to try to add another level that doesn’t completely obliterate what was there before. In other words I (usually) actively try this temporal sense into the painting or drawing.

EM: How do you title your work?

RH: Once the work is finished, and documented, I try to sit down and work out what the title it. I find this very difficult as I think titles are very important signifiers to not only how an artist thinks about that particular work, but perhaps the work in general. I like the title of to be poetic: I like it to situate the viewer in a particular area but, perhaps conversely, to open up possibilities of interpretation. It’s important not to suffocate the viewer. I usually use single word titles. Sometimes the word is used for its meaning, sometimes its sound. Occasionally I invent words. In practical sense it’s also important for me that I will see the painting in my mind’s eye when I hear the title.

EM: Can you talk about the combination of drawing and painting in your practice?

RH: For me drawing is central – painting is, in many ways, just drawing with paint (or an equivalent). It is important to me that there is a ‘drawing’ sensibility at work – I don’t this in a traditional sense but in a spirit of discovery – to ‘draw out’ or ‘draw forth’ – to wrest an idea, a form or an image from the ether. Contrary to much that I was taught at art school I discovered that this often times me slow down or work carefully, thoughtfully and methodically.

EM: You mentioned during our studio visit that you look at your work with a ‘quizzical eye.’ At other times you have referred to your work requiring ‘curious viewers.’ Is this kind of reflection or investigation intrinsic to your work?

RH: I think that art is at its most gripping when it both attracts and resists us – when it garners our attention but refuses to be submissive. I like the idea of making art that acts as a kind of conundrum – what is this I’m looking at? What is the pattern and why? What values are at work? How do I feel or what do I think?

EM: It is clear there is a stylistic diversity in your paintings. How do you achieve this and why is it important to you?

RH: An old teacher of mine (performance artist Alastair MacLennan) used to say that your thumb and forefinger look very different buy they belong to the same hand. I’m very resistant to the idea of ‘style’ – bearing in mind that this can be born our of habit or, more accurately, lazy research methods. I try to foster an experimental and creative approach and I’m happy for work to engender variety. That said it is one of the inescapable paradoxes of art-making that more, and longer, one labours then the more the work can be ‘tied up like a sausage’ (to quote de Kooning).

EM: You have said previously that what interests you most as a painter is plasticity. Can you expand on this idea?

RH: Simply put: I like the idea of malleability, of transformation – in materials, processes, configurations and ideas.

EM: Your work over the years has moved from representation to pure abstraction. Can you tell us more about this change and why it happened?

RH: Well first of all let me say I don’t believe in the concept of pure abstraction! There is always representation, allusion and suggestion. At one time I used to make work that used to recognisable images to try to eke out ideas or expressions about particular thematic issues. At a certain point I wondered what would happen if I emptied out the symbols and tried to work without reference to essentially linguistic ideas. I soon discovered that this was a folly as the world follows you into the work anyway. This freed me to just be in my work without worrying about steering it. So in a sense there was no real rupture in how I worked; a shift of emphasis perhaps.

EM: Is there a grammar and syntax to how you work out your paintings? How do you find a balance in your work that is coherent?

RH: I think most creative endeavours (art, writing, music, film et al.) are ultimately determined, or resolved, by grappling with problems of structure – organising parts into coherent whole. This fundamentally formal problem is, as you note, one of finding balance. Each new work creates a different, and complex, set of conditions to respond to and of course with the flow of time one presumes we respond differently too.

EM: There is a three-dimensionality to your finished paintings. Do you feel your painting practice ever slips into object-making? Why do you make paintings and not sculpture?

RH: I’m completely in the world of object making! I’m very conscious of making an actual thing as opposed to merely an image or illusion. Over the years I’ve made a number of works that would be considered as sculpture and I prefer to be described as an ‘artist’ rather than as a ‘painter’, but the simple fact is that I enjoy the minimal directness of painting and drawing. It’s about desire.

Posted By

Rebecca Kennedy

23 May. 2017

The Model presents Cairde Visual Submissions Open / Deadline June 12th

(Heidi Wickham, Emer Mc Garry, Tara Mc Gowan and Cormac O’Leary. Image by Barra Cassidy)

In 2013, a group of established Sligo based artists came together with Cairde Sligo Arts Festival with an aim to create a significant, international open submission exhibition for the North West. Cairde Visual was born and the first annual submission took place in The Hyde Bridge Gallery in 2014. The exhibition has, in a short space of time, become a much-anticipated feature in the arts festival’s programme and in the cultural calendar of the region, not to mention an increasingly important fixture for artists all over Ireland and abroad. The third annual exhibition in 2016 boasted over 70 artworks from local, national and international artists, featuring a great diversity of media.

The Model came on board as a collaborative partner in 2015, offering The Model Cara Award – a short-term residency in The Model’s artist studio. Recipients of the Model Cara award to date have been Helen Blake in 2015 and both Daniel Chester and Selma Makela in 2016.

The move of Cairde Visual to The Model for 2017 is an exciting development for all concerned. Director of Cairde Sligo Arts Festival, Tara McGowan, believes that the collaboration with The Model will further enhance the reputation of the annual exhibition. ‘We are delighted to collaborate with The Model as one of Ireland’s leading arts centres. The phenomenal growth and success of the exhibition over the past three years has lead to an increase each year in submissions. The Model’s beautiful gallery spaces will ensure that we can showcase selected works in the best possible way”.

Acting Director at The Model, Emer McGarry is equally looking forward to collaborating with Cairde Sligo Arts Festival on Cairde Visual. “Part of the core work of The Model is to offer opportunities for the development of professional artists. We are delighted to partner with Cairde Visual in 2017 and to extend the opportunity for local, national and international artists at all stages in their careers to submit work for consideration. We believe that we can bring our expertise and experience to the progression of this Sligo-based open submission exhibition”

Submissions are now being accepted for this year’s Cairde Visual. Guidelines and submission forms are available at www.cairdefestival.com and also at The Model reception desk. The deadline for receipt of applications is June 12th 2017.

Posted By

Rebecca Kennedy

10 May. 2017

Interview: Steve Wickham

(Photography by Paul Mc Manus)

Steve Wickham is a true Sligo treasure. As a long-serving member of The Waterboys, the Dublin born violinist has travelled the globe collaborating and performing live with the likes of Bob Dylan, U2, REM, Elvis Costello, The Hothouse Flowers and Sinead O’ Conner. Wickham is a resident studio artist at The Model. It isn’t an all too uncommon occurrence to hear the sound Wickham’s soaring violin spilling from the window of his studio whilst passing below. It’s a bit like having Madonna in the attic, really.

Safe to say, we consider ourselves very lucky to have him. Having had such a prolific career, it is no surprise that Wickham is gearing up to release his second solo album, Beekeeper. In preparations for the launch of the album (taking place at 8pm, Fri. 12 May in The Model) Steve Wickham sat down with our marketing assistant, Rebecca Kennedy to discuss Beekeeper, inspiration, and Sligo.

Can you tell a bit about how Beekeeper came about?

I was sitting for a painting for Nick Miller in his studio up in Rathcormac for about a week. I asked Nick was it okay for me to bring my violin because it’s kind of boring to just sit there. He was into it. I brought the fiddle and improvised while he painted me. I brought a recorder to tape all the tunes and in the end I had hours and hours of improvised music. As I was collating the music, I realized I wasn’t ready just yet to make that album yet but it sparked the creative juices to put out a solo album so I did. I recorded some of it in my studio. The creative process was spurred on by being in The Model. I wrote ‘Song of Lost Things’ in The Model and ‘The Hare.’

Your music is such an eclectic mixture of sound. What goes through your head while your writing?

It’s one song at a time. I never think, ‘Oh, I have an album here.’ I had a lot of pieces that were saying to me ‘what are you going to do with me?’ I kind of answer them by saying; ‘I’m going to put you all in an album.’ I had a great producer working with me, a guy called, Joe Chester. He’s actually an old friend of mine. He was in The Waterboys. He’s an Irish producer who worked with Hozier. He has a great aesthetic. When you’re working on things yourself, you’re too close to them. Like a curator in an art gallery, a producer can step back from an artists’ work to actually look at it. So, I’d a lot of help from Joe and some of the guys in The Waterboys. I also had help from Brian Mc Donagh with whom I began the recording process.

How does your experience as a solo artist compare to your experience of being in a band?

When you find yourself in any sort of group, there’s a group dynamic to be aware of. When you are part of a band of musicians, you must find the dynamic. Find your own place within it. That place, where you can give most of your musical self. The lead singer or songwriter is generally the leader of the band. I am primarily a violinist and most of my career has been spent supporting the song and the singer and for the most part this has been completely fulfilling for me. With this record I’ve had to stand up more to the fore which is a bit more daunting but fun too, especially with a great band behind me.

If you could describe Beekeeper in three words, what would they be?

A hive of songs…or a deadly buzz!

Posted By

Rebecca Kennedy

3 May. 2017

Interview: New Irish Directors

New Irish Directors is a short series of film at the Model curated by Edel Doherty. To get under the skin of New Irish Directors, Rebecca Kennedy sat down with Edel to discuss the series and what it has to offer Sligo audiences.

Why the focus on Irish director’s?

It’s an exciting juncture. A new wave directors have been are being recognised in at Toronto, Cannes & the Berlinale. The directors in the series are quite contemporary. Some of the classic themes of Irish cinema are still there but they are being teased out in a more nuanced way. The way the film industry has moved in the past in that Irish film relied on outsider funding from Britain in the form of co-productions. Now, more and more co-production with Irish cinema is happening with other European countries. This is having an impact on how Irish directors are telling their stories; they becoming far more international and far less parochial. It’s an exciting time in the history of Irish cinema.

Is there anything regarding visuals or storytelling that separates Irish directors from their international counterparts?

Lenny Abrahamson for example is on his way to having a very distinct body of work. We don’t have a distinct visual director. We haven’t got a David Lynch or a Jean-Luc Godard in amongst our directors but we are terrific storytellers. Irish directors are catching up with their international counterparts in that sense. You know, a lot of stories have come out recently about our collective past. Stories of the Catholic Church and government corruption that we see continue even past reports and tribunals. Our filmmakers are not afraid to touch on that, even directly at times. It’s something you can really say about Irish film. We are fearless storytellers.

What film from the series would you most recommend and why?

Our last film Mammal is a complicated film on grief and loss. The Young Offenders is a sophisticated, pure comedy with some really beautiful, natural scenes. Each one shows something different. When it came to curating the series, we wanted the films to compliment each other and we wanted a balance overall.

If I had to choose one I would pick Further Beyond. There are a few reasons I would choose that. It’s our only documentary in the series. Dramas and fictions tend to get a bigger audience but so much creativity is happening with documentaries at the moment. The word “hybrid” is thrown around a lot with films like this. I think that Further Beyond is more of a film essay. And it has a Sligo connection.

It charts the journey of Ambrosio O’ Higgins who’s family were forced to leave their lands in Sligo and eventually travelled to what is now modern Chile. His son, Bernardo O’ Higgins was one of the first leaders of Chile after they gained independence from Spain. The film charts his journey by taking you to key locations that let you grasp some clues as to who this individual was. Further Beyond explores immigration and identity; themes that are at the core of any Irish film. We are looking at our past, our politics and our identity, at times very humorously.

Posted By

Rebecca Kennedy

2 May. 2017

Guest Blog - Nicola Evans on ‘The Art of Drawing with Michael Wann'

Nicola Evans has been volunteering at The Model for over a year. As a marketing professional, Nicola lends her expertise one morning a week to The Model. As well as a passion of PR & marketing, Nicola harbors a fine talent for drawing. To improve upon her skills and make the most of The Model’s phenomenal education programme, Nicola recently took part in Michael Wann’s class ‘The Art of Drawing’. Michael Wann is a celebrated artist famous for his wonderful charcoal work that artfully weave technical skill with nuanced emotion. He has been the recipient of countless prizes and awards such as the AXA Insurance Drawing Prize & the Tom Caldwell Drawing Prize. In this short guest blog, Nicola tells us about her experience in The Art of Drawing and why you should consider taking the class.

“I always dreamed of the day when I could take an afternoon off from work weekly to pursue a hobby and so it was with great anticipation that I signed up for Michael Wann’s drawing class.

I had not drawn for a while – so it was quite nerve wracking walking in – especially knowing what Michael could achieve with charcoal. However, the class couldn’t have been more relaxed. All the artists in attendance varied in levels of experience. Michael is a patient, encouraging instructor that gave us direction when we needed it.

Us newcomers started off by learning the fundamentals of art like perspective and how to create dimension & tone. Michael really encouraged us to experiment and take drawing at our ease. ‘Loosen up’ and ‘make a mess’, he would often say, ‘accidental marks are often the ones that make a drawing come alive’.
After our crash course on the essentials, we moved onto landscapes. It’s so easy to lose yourself when drawing big open skies; time just seems to disappear.

By the time the final class rolled around, my technical drawing skills had definitely improved. I was becoming braver using charcoal, less precious about creating a masterpiece and just having fun experimenting and exploring the millions of different effects you can get from a burnt piece of willow.

The class was a very relaxing experience. It felt like yoga for the mind & thanks to Michael, I am very inspired to continue drawing in the future.”

Posted By

Rebecca Kennedy

16 Apr. 2017

Sean Larkin - New Studio Artist Profile

What is your practice?

Fine Art Painting.

How did you come to rent a studio at The Model?

The Model is recognized as one of Ireland’s leading contemporary arts centers, and as such presents itself as a stimulating cultural site which offers a range of supports and opportunities for collaboration with fellow artists as well as potential projects with high artistic and educational merit. The Artist Studios at the Model makes it a site of artistic production and an opportunity to present work to interested audiences, which I see as vitally important. Networking opportunities with other arts professionals is equally important to artists so when a Studio became available in early 2016, I couldn’t resist the opportunity.

How does it feel to have the space to work?

What excites me most about the space when I walk over the threshold into the studio is the feeling yes, this is where I want to be – this is the space I want to be in, which is very empowering. I can see my residency in the Model as a catalyst for continuing creative inquiry, creative practice and related research loosely based on cultural signposts.

What are you plans for the future?

What challenges me most about contemporary practice in painting is that it is about change itself, never still, and its capacity for reinventing itself as cultural sign posts is both exciting and surprising given to enormous impact of new media and technologies.

My immediate plan is to sift through the material I have been collecting over the past year and produce a body of work – which will result in an exhibition in the not too distant future while also looking at networking opportunities with other arts professionals.

Could you tell us a little of your background?

I live and work in Sligo. I was educated at the National College of Art and Design (NCAD) Dublin & graduated in 1973. I was the former Head of School of Creative Arts at the Institute of Art, Design and Technology (IADT) in Dun Laoghaire from 2005 to 2012. I worked at senior management level in the Institutes of Technology sector from 1978 until I retired in 2012. I represented the Institutes of Technology sector, Ireland (IOTI) as Chair of the Working Group on Practice – based Research in the Arts, an advisory group established by the Higher Education and Training Awards Council (HETAC) with support from the Irish Universities Quality Board (IUQB). I was HETAC external examiner /assessor in Fine Art on a variety of assessment and programme validation panels for the Sector.

I was Head of Department of Art and Design at IADT from 1998 to 2004 and previous to this post was Head of the Department of Humanities at IT Sligo. During this period I was the HETAC nominee on the Council for Curriculum and Assessment (NCCA) on the senior cycle Curriculum in Schools Committee. I maintained a link with professional art practice with work represented in public and private and public collections including the Arts Council Collection, Ireland. 

Posted By

Rebecca Kennedy

30 Mar. 2017

My Pick - Alexandra Hopf

This painting, ‘Singing the Minstrel Boy’ by Jack. B Yeats has triggered my ongoing fascination with the stage. I have been fascinated with it since I was a child. My mother was a trained circus performer and I can remember very vividly my first theatre performance. Ever since then, the stage has been is a magical place for me. Everything on stage is born out of the darkness; daytime, nighttime, sounds, changing settings, action, still stand, smoke in the backlight, smells from the dusty curtain, a bang from a revolver, false hair, forgotten texts and the ghosts of the past that become visible.

The stage is an interesting subject for a painting. A framed fiction itself, the stage is framed once again by the painting, therefore it is an image contained within an image. Yeats’ depiction in this painting of that moment within a staged performance is uncanny. The uncanniness of the moment is echoed in the actresses pale face. Maybe the light conditions were not perfect, maybe the make up was over dramatic, and so she comes across as a ghost… the ghost of an actress that has to perform over and over again, caught in the moment and doomed to perform forever. At the same time the audience were also doomed to watch that performance over again and again, pretending to see it anew.

For me, what Yeats has captured in ‘Singing the Minstrel Boy’ is the essence of both those who perform and those who consume. In the scenario of this painting, we as viewers are also integrated into the image, with those who watch us, watching others watch.

“The Night” – An exhibition by Alexandra Hopf is on display at the Model until the 16. Apr. 2017

“Singing the Minstrel Boy”(1923) by Jack B. Yeats is currently featured in “Lives” a Model exhibition in The Niland Gallery. “Lives” will be on display until 01. Oct. 2017.

Posted By

Rebecca Kennedy

15 Mar. 2017

Daniel Bannon talks volunteering with Rebecca Kennedy

To highlight volunteerism in Sligo during it’s year as The European Volunteer Capital for 2017, Rebecca Kennedy talks to Daniel Bannon, a volunteer at The Model.

“I choose to volunteer in The Model because I had finished a degree in Music technology in Tralee, Kerry and I was looking to help out in an arts center where I could make use of the theatre. What I enjoy about volunteering at The Model is that the team here is made up of really good people.“

Mr. Bannon tells us about the fast-paced work environment at The Model.

“You learn something new everyday so I get a lot out of it. I meet new people and it’s an opportunity to network.”

“My favorite memory of working in The Model was doing the sound engineering for ‘Beneath the Air’, last October. That was the first gig I worked on at The Model and after it finished I had a great buzz. It was really exciting. I knew a lot of theory about sound engineering from my degree but having the opportunity to practically apply that meant that I gained some really great experience.“

“I will continue to volunteer in The Model and I would recommend volunteering here to anyone remotely interested in the Arts. Spending your time at The Model presents the opportunity to learn new skills, get practical experience and meet like-minded people.“

If you are interested in joining the volunteer team at The Model please contact getininvolved@themodel.ie

Posted By

Rebecca Kennedy

8 Mar. 2017

Noel Corr talks volunteering with Rebecca Kennedy

Noel Corr is undeniably one of the longest serving and dedicated members of The Model’s Volunteer team. Every Wednesday Noel rises early to take the bus from his hometown in Bundoran, Co. Donegal to Sligo Town to donate his time as a Gallery invigilator.

Noel tells us why he volunteers and why he thinks others should too!

“I started volunteering at The Model about seven and a half years ago on the 25th of May, 2010. I’ve always been interested in art, now and again I would go to Dublin, to the National Gallery. I used to come here to The Model every Wednesday anyway. I came for the art and the café! For me, it’s a day out.”

“I volunteer from 10am – 2pm. There’s a nice atmosphere in the galleries. What I really like is that I meet a lot of different people. Later in the year, during the summer season, you meet Europeans, Americans & Australians… I’ve met so many over the years and I’ve made friends with a couple of them. I picked The Model because it is a peaceful place to come to, you know you can relax.”

“I will probably stay here. I come to Sligo every Wednesday anyway, 12 months of the year. So I’m going to keep volunteering as long as I’m still alive!”

“Volunteering would be good for anyone at college who may want to do something during the summer months. But anyone who’s interested in art could volunteer here. Coming to the Model, there’s a lot that you learn about the arts and the art world… and it’s a great place to be, I get on with everyone. They’re just a nice bunch of staff here and that’s important. You can come here and have a laugh and a joke & that’s just as important as anything else!”

If you are interested in joining the Volunteer team at The Model please contact getinvolved@themodel.ie

Posted By

Rebecca Kennedy

23 Feb. 2017

Reconstructing Memory Masterclass: A Review

Clea van der Grijn’s Reconstructing Memory is the culmination of three years hard work. The exhibition is multi-disciplinary featuring paintings, installations, sculptures & photography. It’s the result of the artist’s stay in Sayulita, a jungle encased village in the heart of the Mexican jungle. Considering the prolific nature of the show at hand, it is interesting to wonder what a masterclass hosted by the artist would entail. In other words, what can a group learn in one day of an exhibition that took the artist over three years, multiple mediums and one heck of a move to create?

Quite a lot, as it turns out.

The class commences at 10.30 am in the education room at The Model. Van der Grijn begins with a short talk, explaining the conception and creation of Reconstructing Memory. Then comes a tour of Reconstructing Memory packed with lesser-known facts about the exhibition. After our tour, the real work begins. As an exercise in the art of beading skulls, a traditional folk art in Mexico, we are asked to pick symbols from a sheet that van der Grijn hands us. These symbols serve a dual purpose, they provide the intrinsic designs that adorn the skulls and tell the story of the person the individual the skull has been decorated for.

The symbols are not for the faint hearted. They are complex patterns that need to be beaded & glued to the skull with great care. Of course, half of us find this fact out after we have chosen the hardest, most detail heavy symbols. The skulls are polystyrene and the first step in the decoration process is to create a base. Seeing as the students in the master class had long since waved goodbye to childhood, it would be fair to presume that coating the skulls with crepe paper and P.V.A. would be a tedious chore. But far from it, creating the base with sticky, messy glue is more fun than you can imagine. Toddlers really do have the life of it.

After the bases are created the skulls are left to air dry, we pick from a mountain of supplies. There are tiny beads, shiny buttons, crepe papers, fake flowers & an abundance of markers to help us tell our stories. When the skulls are ready, so begins the challenge of decorating. Van der Grijn has brought along a real beaded skull as an example and your dear correspondent catches more then one nervous glance in its direction as the class unfolds.

Indeed, the Mexican skull is so skillfully and beautifully decorated that it feels more Fine Art than Folk Art. And ours are proving more difficult than we predicted, the beads are difficult to control and the glue is temperamental. Looking down and the cranium in my grasp is a sad affair, with its paper-Mache surface & drawn on nostrils, it feels less Fine Art & more Art Attack. But the Masterclass is enjoyable nonetheless. The shared mood is relaxed and the conversation careens naturally from topic to topic like the bends in a lazy river. “You must take yourself seriously as an artist,” van der Grijn tells us. It is not her only tit bit of advice but the one she says in her most vigor.

The rest of the class is spent finishing our skulls but only beginning our stories. I would highly recommend a master class to anyone interested in a particular exhibition. Not only will you learn a new skill, it is also a chance to get to know the artist behind the work, and perhaps learn to see the exhibition from their point of view.

Posted By

Rebecca Kennedy

25 Jan. 2017

The Art of Drawing with Michael Wann - A short note

31st of January – 7th March 2017

2.30 – 4.30pm Advanced

€120 six week course

“Wann’s work is imbued with feeling and memories of the experience of being in the places he draws so skillfully” – Brenda Moore-McCann, Irish Arts Review.

Michael Wann, a celebrated Sligo-based artist will be holding ‘The Art of Drawing with Michael Wann’ a 6 week master class course in The Model, Sligo. The drawing classes commence on the 31st of January and will come to a close on the 7th of March. Michael Wann’s classes have long been a fixture of The Model’s programme as Michael provides his students with excellent expertise, a new skill-set and positive encouragement to explore your artistic side.

Why you should take Michael class?

That’s a fair question. We would not expect you to take classes from an instructor with no credentials, the same way you wouldn’t take etiquette lessons from Trump. Luckily Michael has a long list of achievements and experience to put your mind at ease. Here are just some of the honours and accolades Michael has garnered along his journey of artistic exploration:

Since graduating from the Sligo Institute of Technology in 2003, Wann has exhibited continuously in numerous solo and group shows. In 2004, his work was selected for the Royal Hibernian Academy (RHA) Annual Exhibition. He won the AXA Insurance Drawing Prize at the RHA Annual in 2006 and was an invited artist to the Exhibition in 2009. He also had a solo exhibition “Humble Remains,” at the RHA’s Ashford Gallery in 2009. Other prizes followed in 2010 when his work was selected by Hughie O’Donoghue for the Tom Caldwell Drawing Prize at the Royal Ulster Academy’s Annual Exhibition. Wann was also awarded the Sean Keating Prize and Silver Medal at last year’s 186th Annual at the Royal Hibernian Academy & has the honor of being invited back to the R.H.A. this year.

His work is held in both private and public collections in Ireland and Britain, France, Australia, New Zealand and the United States.

Who should take “The Art of Drawing by Michael Wann?

Another great question. Wann’s classes are aimed at any one with a basic level of drawing experience, however if you are a complete beginner and passionate about learning to draw, this class is definitely for you. On what the class entails, Wann remarked, “The class aims to encourage participants to enjoy the act of observing and drawing in an easy going and informal atmosphere.”

The classes could also be a perfect gift for a creative friend or family member. Give the gift of artistic confidence and send a loved one to Wann’s classes, where they will up their skill level in the safe hands of a talented & highly experienced artist.

How to sign up:

To book a place on “The Art of Drawing” you can contact Michael directly on: 087 9303528 or email: studio@michaelwann.com

Posted By

Rebecca Kennedy

11 Jan. 2017

Graphite & Easel: A review

Graphite and Easel is a life-drawing classes led by Artist Emma Stroude. It takes place in The Model on Fridays at 10.30 am. To resurrect whatever waning artistic talent I may have left, I decided to give Emma’s class a go. Life drawing for some is the most essential of all artistic practices. It trains its students in a variety of skills like shape and form, space, line, colour and texture, components that are crucial for any artist’s repertoire. Because I haven’t been to a life-drawing class in quite some time, I am a little too eager and I arrive at Emma’s class at 10 on the dot. Thank god, she’s already in the education room with a friend, setting the stage.

“So, who’s the model?” I ask, secretly hoping for a woman because men are impossibly boring to draw (they’re just a couple of straight lines with a lumpy bit after all).

“You’re getting the best model,” Emma’s friend informs me.

“Who’s that then?”

“Me!” she tells me.

The class starts to fill up around 10.15 so any newcomers interested in attending Graphite & Easel are advised to arrive that little bit earlier. There’s a pretty big crowd but there’s plenty of easels to go around. Emma takes to the middle of the class to give us the low-down on the schedule. We are to do a series of warm-up sketches to get us moving, then our model will pose for longer periods of time followed by a short break.

“No problem,” I think, “Sure, I’ll be a little bit rusty but I can shake that off in the preliminaries.”

Oh, how wrong I was. During the warm-up poses I can’t quite believe how good I am not. In fact, some sort of clinical separation between body and mind seems to be at play here. My brain knows what it perceives and what it would like but my hand refuses to oblige. When did my fingers become sausages? Why can’t I draw? Who has done this to me?

Our Model seems to be switching poses with rapid speed. I glance around at my classmates to find that I seem to be the only one breaking a sweat. The other students are as calm and focused at Buddhist monks. Am I the only one who believes that our Model is not so much posing as vogueing?
It turns out I am. And that’s because I’m out of practice. I stumble upon this conclusion when we have a short intermission and Emma encourages us to take a waltz around and view each other’s work. When I take my turn around the room I discover that although I may have struggled, my classmates had no such issues. All levels are welcome at Graphite & Easel, and every group is represented here. From shy beginners to the very the intimidating masters, we are all accounted for but the overall standard of work at Graphite & Easel is excellent.

So much so that your dear correspondent took one look at her neighbour’s haunting charcoals drawings and fled the room, rather then having to stick around and justify the glorified stick-woman I’d managed. I took solace in the café and chatted to others from the group. Everyone was friendly and the atmosphere is one of goodwill and encouragement. When our break is over, we filed back into the education room; I was ready for round two. It’s easier than the first half, partly because I’ve warmed up and partly because I left my massive ego at the door.

Graphite & Easel takes place in The Model on Fridays from 20 Jan.
10.30am – 1pm, €10 per session.

Posted By

Rebecca Kennedy

20 Dec. 2016

A seasonal sing-along screening for families at The Model cinema

Special Family Day with Secret Sing-along Screening

Wed 28 December

•Printmaking workshop, post-holiday celebrations and story-telling from 11.30a.m.
•Free secret sing-along film screening for families at 1p.m.

The Model are holding a top-secret movie screening and some post-holiday celebrations for all the family on Wednesday December 28th. The event is part of a special edition of Family Day and takes place from 11.30am-3pm with a top secret sing-along screening at 1pm. Our sources can reveal that the film in question is of a recent movie, and that children age two to ten agree it’s already a classic. It’s the perfect way to spend an hour or two out of the cold this festive season. Get cosy in the Model Cinema with some seasonal sing-along fun! The screening is free to attend and all are welcome.

The Gallery Cafe will be open, for all your hot chocolate and cupcakes needs. Children and their minders will also have a chance get creative, explore printmaking, participate in a dance competition, and enjoy a fireside storytelling session. Those wishing to attend the craft workshops are advised to register in advance, as places are limited, and there is a small fee to cover materials.

Take the whole family and make your way to The Model (if you’re not too busy building snowmen!)

Posted By

Rebecca Kennedy

9 Dec. 2016

Sligo Global Kitchen with Pulled

Pulled Screen Print in association with Sligo Global Kitchen are holding their second ‘Cult of the Night’ print party this Friday, December 9th at their studios at the Model, Sligo. Attendees will be treated to a special food menu with culinary delights from across the world presented by the expert team at Sligo Global Kitchen. There will be live screen printing of festive cards and live vinyl DJs. Booking is strictly limited to 20 places and are available from Pulled’s Facebook page or by emailing info@pulled.ie

Sligo Global Kitchen is a cooking venture that opens its doors to everyone in the community especially those living in Direct Provision to meet, cook and eat. ALL are WELCOME!

Posted By

Rebecca Kennedy

8 Nov. 2016

My Pick - Irene Geelan

It’s funny, I’ve been to most of The Model’s previous exhibitions but I had never seen ‘Mountain Window’ by Jack B. Yeats. I had seen it in a lovely, little catalogue that the Niland produced and I really loved it. I used to come in, this was going on for several years, hoping that I would see the real painting but it was never seemed be on display. Then on Heritage Week, I went to a story telling session in Grange and there was a little shop where Imelda was reading a story. At the end of her storytelling she mentioned some other events that would be happening for Heritage week and she mentioned that ‘Painted Universe’ was on. I asked her if ‘Mountain Window’ would be on part of that exhibition. She said it should be so that day I came and Heike was the guide.

I told her that I’d only ever seen ‘Mountain Window’ in a book and when I finally got to see it, it was almost like an emotional connection with the painting. I don’t know why, I just wanted to see the painting so much. I had talked to Mick about it (Irene’s husband) and he said, “Well, if you like it so much, I will paint it for you.“ So, from the image of Mountain Window in the catalogue he painted me a copy of ‘Mountain Window’. For two or three years it’s been up on the wall in our house, so I really wanted to see the original.

I think I love the painting because of the mountain subject matter. When you see it, it feels like you are in the room looking out the window and it feels very warm and secure. You can sense other people in the room, too. Whatever about it, it had that domestic feeling to it. It just felt familiar but it wasn’t one of those tourist-type paintings either. You can see this was Jack’s feeling about this mountain; he really captured the emotion of it. To see the real one was great. You think, is it going to be as wonderful in reality? The first time I saw it I was very pleased. There’s something lovely about it and it’s not too complicated. I just feel that I have an emotional connection with ‘Mountain Window.’

Posted By

Rebecca Kennedy

21 Oct. 2016

The Allingham Festival

Here at The Model, we like to think of ourselves as your number one Arts institute. Indeed, we like to believe that we cater to all your artistic/cultural/ entertainment needs and that the relationship you have with us is well…exclusive. Alas, we know that not to be the case. To have your needs met, you, our adoring public, must see other Arts institutions. As much as it pains us, we try to understand. It is only when we are faced with an institution playing host to a festival, exhibition or event so fantastic, that your straying away becomes a bit justifiable and thus the sting of your betrayal becomes that little less painful.

There are many great festivals and events to cheat on us with but the one that we feel is of special note, is The Allingham Festival. The Allingham Festival takes place in The Abbey Centre, Ballyshannon, Co. Donegal from Thursday, Nov. 3 to Sunday Nov. 6. With an eclectic mixture of workshops, lectures and concerts, The Allingham boosts something for everyone. Past years have gained the festival a reputation for hosting a unique collection of artists and acts and this year is sure not to disappoint.

Some of the highlights of this year’s festival include but are not limited to: A lecture on the refugee crisis by investigative reporter, Valerie Cox, a workshop with Model favorites, ‘FAB LAB,’ a professional development workshop with the Irish Writers’ Centre and Anne Enright, Man Booker prize winner and Laureate for Irish Fiction, will take part in a public interview with Sinéad Gleeson (‘The Book Show’ on RTE). Topics for discussion will include Enright’s novel ‘The Green Road’ and her other writing, the Laureateship, and the state of writing in Ireland today. Plus, Former Board member and great friend of The Model, Kieran Quinn, will be Headlining The Allingham concert with special guest reader, Anne Enright.

For more information or tickets for any of The Allingham Festival events are available on The Allingham website: www.allinghamfestival.com

Posted By

Rebecca Kennedy

20 Oct. 2016

The Waterford Healing Arts Trust comes to The Model, Sligo

Mary Grehan and Claire Meaney, Arts Directors of one of Ireland’s leading Arts and Health programme, the Waterford Healing Arts Trust (WHAT), are coming to Sligo for a three-day residency at The Model from 25th – 27th October.

Established in 1993 and based at University Hospital Waterford, WHAT supports the development of arts and health practice in Ireland through training, advice and artsandhealth.ie, the national arts and health website. Between them Mary and Claire have over 25 years experience of curating arts programmes in a range of healthcare settings including acute hospitals and mental health settings.

During their time at the Model, Mary and Claire will share their experience of running arts and health programmes via free advice clinics on 26 October in the Gallery Café at The Model and visit similar programmes in the North West. They will also facilitate an Introduction to Arts & Health, a one day training programme for artists and healthcare professionals who are new to the area of arts and health.

The residency will conclude with the launch of An Introduction of Arts and Health // 10 Things to Consider , a short publication by Mary Grehan which describes the various aspects of arts and health practice, offers guidelines for good practice and signposts readers to further information. This will take place at The Model at 5pm on Thursday, 27th October. All are welcome to attend.

An Introduction of Arts and Health // 10 Things to Consider will be launched by Niamh O’Connor an artist and arts coordinator for the Arts Initiative in Mental Health, a programme of Sligo Leitrim Mental Health Services.

In the words of Mary Grehan, Arts Director of WHAT, ‘Sligo County Council was the first local authority in Ireland to publish an arts and health strategy and in the light of this and the personal relationships we have built up over the years in the north west, we are very much looking forward to our residency at The Model. This is not just about sharing our experience but also being inspired and reinvigorated by the work of others in the field of arts and health.’
If you are interested in meeting Mary and Claire during their residency at The Model, please e-mail info@artsandhealth.ie to book your place.
For more information on the work of the Waterford Healing Arts Trust / artsandhealth.ie phone 051-842664 or see www.waterfordhealingarts.com and www.artsandhealth.ie.

Posted By

Rebecca Kennedy

18 Oct. 2016

My Pick - Barbara Breitenfellner

What really struck me about ‘Johnny Patterson singing Bridget Donoghue’ is that it is so far removed from the aesthetic of the rest of the exhibition, Painted Universe. The other paintings seem pretty conventional in comparison and when I saw this I was really thrilled. The desperate violence of the face reminded me of The Scream by Edvard Munch, but also of the photographic series of monstrous clowns by Cindy Sherman. It is a face falling apart in horror. Then you look at the title and see, ‘Johnny Patterson singing Red O’ Donohue’.

When you think of a singing clown, it sounds kind of nice you know. A clown is a kind of a children’s entertainer. But then you examine this painting and that concept completely flips. I found it fascinating how he treats the paint. I think that it ventures so far from his usual style, the way that he is using the brush and really going into the paint by stirring it. Also, you have to examine the way he uses colour. Particularly yellow, which is one of the brightest, sunniest colours that you can imagine. But here, Yeats’ is mixing it with all these dark colors until it becomes contaminated. Transforming it into a dirty yellow, that, in the context of this painting, is utterly sad. It shows a remarkable depth of despair.

When I was researching this painting, I came across a text by Roisin Kennedy on The Model’s website. The text stated that the painting was inspired by Yeats’ first memory of seeing the clown perform but he was also reflecting on the role of the artist, which made complete sense to me. The clown is standing before an audience, trying to entertain them and I think that is a great image. In that sense Yeats’ painting could be read as a distorted, absurd and ironic representation of exhibiting art and being an artist.

Posted By

Rebecca Kennedy

26 Sep. 2016

Deepest Condolences

The Staff and Board of The Model would like to extend deepest condolences to the family and friends of Shirley McClure, who passed away on the 23rd of September 2016. Shirley, a celebrated poet, was due to take part in our literary event “Looking Out and Back,” on Sunday, the 13th of November. Her absence will be a great loss to the world of poetry.

Posted By

Rebecca Kennedy

15 Sep. 2016

Culture Night 2016 at The Model

The Model will be celebrating Culture night 2016 in its usual elegant fashion. For you, our dear public, we are presenting and playing host to some top-notch events and workshops. Where to begin with this list of heart- racing affairs is this bloggers first world problem of the day. The celebrations kicks off at 5pm on Friday the 16th of September and end roughly at 10pm. During these hours you will be enthralled, baffled and entertained by the following acts and exhibitions:

The Miniature Theatre at The Model presents a magical evening of story-telling!

5.00pm – 7.15pm

The Model has commissioned Wayne O’Connor, a local illustrator to develop a unique set-design for this year’s Oiche Cultur children’s event. O’Connor, a talented Sligo- based artist, has been busy working on original artwork and set-design for the miniature theatre that will animate The Model’s bi-lingual storytelling event, Cití Cailleach, taking place from 5pm on Culture Night, the 16th of September.
The set was inspired by both “The Toy Theatre,” by Jack B. Yeats and his well-documented love of Victorian theatre. The notorious artist, who lived in Devon in the early 1900’s, crafted miniature theatre’s to keep the local children entertained. For more info, click here.

Jack B Yeats; Painted Universe – Exhibition

5.00pm – 10.00pm

While still on the topic of Jack B. Yeats, I thought it only fitting that “Painted Universe” come next on the agenda. “Painted Universe” is an exhibition that charts Yeats’ development from his earliest pen & ink illustrations to his last great, epic oils. This exhibition allows us to study Yeats’ oeuvre, revealing his abiding interest in people. Often depicted as ‘everymen’ or as archetypes of a particular emotion or characteristic, the figures of the clown, the singer, the sailor, the street seller, and the wayfarer were reoccurring characters throughout his work. Unfortunately, all good things must come to an end. “Painted Universe” is closing on the 17th of September so Culture Night is the last night to see the exhibition. Well, if it was good enough for Bowie…..

Ghosts of Other Stories – Preview of Exhibition

5.00 pm – 7pm

The Model is delighted to partner with the British Council in this centenary year of the 1916 Rising on an exhibition drawn from the British Council Collection. On Culture Night, The Model will be holding a preview of the exhibition. Pieces by internationally known artists such as Tomma Abts, Ed Atkins, Bank, Tacita Dean, Ryan Gander, Graham Gussin and many more will be on display.

Ghosts of Other Stories explores works within the British Council Collection where threads of lost stories or forgotten histories flash momentarily into the light. Each work has at its heart an elusive or mysterious quality that speaks of a story passing into history – untold, unheard or interrupted.

Kaleidoscope Night – Musical Tour

7.00 pm – 10.00 pm

A fascinating musical experience will take place in The Model in collaboration with Con Brio on Culture Night 2016. “Kaleidoscope Night” is a Dublin based salon music series that will see an eclectic mix of musicians perform in various spaces around the venue. Acts such as classical guitarist Redmond O’Toole, fiddle player and composer Claudia Schwab, flautist Linda Andonovska and multi-instrumentalists Shahab and Shayan Coohe will perform in various spaces throughout the building.
The audience will be led on a tour from one musical ‘happening’ to the next, and each tour will take approximately one hour. This journey of melodious discovery can be joined at any time and will be presented 3 times over the course of the evening between 7-10pm.

Pulled – Workshop and Music

5.00 pm – 10.00 pm

Pulled will be hosting a pop-up print workshop where visitors for Culture Night will get the opportunity to roll- up their sleeves and take part in a live art experience. Guests will be invited to print their very own super-cool tote bag using a pre-prepared screen print set-up, which they can show off to all their friends. When bragging it is advised to casually exclude any mention of pre-prepared screen prints so unknowing friends may be deceived into believing that you are actually a very humble, secretive creative genius. To make this deal even sweeter, the workshop will be soundtracked on vinyl by Turn It On.

Open Studio

5.00 pm – 9.00 pm

The studio artists of The Model will be opening their doors to the public. The artists in attendance will be on hand to greet the public and talk them through their creative process. This event gives the public a symbolic key-card to wander freely between the studios and get to know the artists behind the work. For any of those interested in the lives of artists and their work, this is an event not to be missed. It is a rare opportunity for a light-hearted interrogation on the innermost workings of the artistic mind. Questions are welcomed and will be answered in full, leaving no air of mystery or stone unturned.

Posted By

Rebecca Kennedy

13 Sep. 2016

The Miniature Theatre at The Model presents a magical evening of story-telling!

5.00pm – 7.15pm

The Model has commissioned Wayne O’Connor, a local illustrator to develop a unique set-design for this year’s Oiche Cultur children’s event. O’Connor, a talented Sligo- based artist, has been busy working on original artwork and set-design for the miniature theatre that will animate The Model’s bi-lingual storytelling event, Cití Cailleach, taking place from 5pm on Culture Night, the 16th of September. Here at The Model, we are so excited for the debut of O’ Connor’s designs that we have decided to tantalize you all (we are known to be teases in that regard) with a few sneak previews of the artist’s illustrations. We hope that you are as impressed with them as we are!

Earlier this year, The Model collaborated with students from The Performing Arts Department, IT Sligo to create a striking replica of the toy theatre, featured in the well-loved painting The Toy Theatre (1906) by Jack B Yeats. The bespoke miniature theatre developed by the Sligo students was a beautiful homage to Yeats’ painting but now the torch has been passed to O’Conner and we can’t wait to see the finished piece!

The idea behind commissioning the theatre was inspired both by Jack B. Yeats’ ‘The Toy Theatre,’ which is a permanent piece in The Niland Collection, and the artist’s well known love of miniature theatre. The notorious artist, who lived in Devon in the early 1900’s, crafted miniature theatre’s to keep the local children entertained. He produced a series of plays featuring pirates, seafarers and a legion of circus characters. He carefully documented these miniature theatre productions, compiling notebooks full of set design notes, watercolour and ink cardboard cutout characters, illustrated by play-scripts and written in green ink. Seriously, did the man ever sleep?

In keeping with the spirit of Victorian entertainment, we invite you to join us on Culture Night at 5pm for an evening of dark and comical storytelling using our newly commissioned miniature theatre set. Come and be enchanted by this hilarious tale of a mischievous witch called Cití Cailleach, who adores everything black. However, she does find herself in a spot of trouble with her black cat Smúróg! The tale of Cití Cailleach, from the series Winnie the Witch, written by Valerie Thomas, has been translated into the Irish language by Liam Mac Cóil. These sessions are suitable for children ages 5-11 years. Children under 5 years are very welcome but must be accompanied by parents/guardians. This is a bi-lingual event and is performed in both the English and Irish language. This event has been generously supported and funded by Foras na Gaeilge.

Posted By

Rebecca Kennedy

Related Programming

24 Aug. 2016

David Bowie's Jack B. Yeats up for auction

The Model is home to a substantial collection of Jack B. Yeats’ work. “Painted Universe” an exhibition of Yeats’ paintings and “A Broadside”, are currently on display at The Model. Although we possess a significant amount of Yeats’ work we do not, regrettably, have it all. The Model houses 50 of the artist’s oil paintings, a relatively small portion of the 1300 paintings in his entire body of work. The majority of Yeats’ oeuvre has been snapped up by various public art institutions, so that they may remain in public view, while others have been purchased by private collector’s, often never to see the light of day again.

It is always a curious, delightful surprise when a painting once thought lost, resurfaces in the public domain. It is even more curious when said painting comes from the collection of one of the biggest artists in history. “Sleep Sound”, by Jack. B Yeats (1955) an Oil-on-canvas, valued at up to £180,000, was owned by the late David Bowie. Bowie – an avid art collector with a keen taste for modern and cotemporary American and British Art – purchased “Sleep Sound” anonymously in 1993 at Sotheby’s for £45,500. The painting was previously owned by a private art collector, Eleanor de Bretteville Reid, an American who bought the painting for just £600, from the Waddington Gallery in London in the 1950s.

The painting was created in 1955 and is typical of the wild, abstract style that Yeats’ developed in his later years. According to numerous media reports, the painting depicts two figures lying on a moor beneath a heavy sky. The merging of these figures, to the sky and land, is a not too removed from the composition and style of “Leaving Far Point”, perhaps the most infamous of Sligo’s publicly owned Niland collection.

Just some of the artists claiming a space in Bowie’s enormous art collection are Damien Hirst, Frank Auerbach and Henry Moore. While certain pieces of the collection will be retained by Bowie’s surviving relatives, the remaining pieces will be up for auction. The collection is estimated to raise £10 million although it is expected that Bowie’s more enthusiastic and financially sound fans may cause a bidding war.

On the topic of Sleep Sound Bowie remarked: “I have a painting of his of two bums lying on a hillside, sleeping. The apocryphal story is that it was one of the paintings which influenced Samuel Beckett when he was writing ‘Waiting For Godot’, which I’d love to believe. “

On Jack B. Yeats, Bowie said: “There’s something about the life and death motifs in his work that maybe are not dissimilar. Just to have that kind of work around me, I find, influences me tremendously.”

“Sleep Sound”– and some others from Bowie’s collection – wil be exhibited in Ireland for four days from September 1st at the RHA Gallery, Dublin.

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Posted By

Rebecca Kennedy