CORK PRIDE ARTIST-IN-RESIDENCE
Oh, and a notable mention to our major broadcaster thinking it reasonable to debate trans lives on air to boost listenership. So, the necessity for a space to gather and exhale with friends and chosen families has never been more sacred. The concept for this project was to create two paintings of Cork’s safe spaces, The Gay Project and LINC. This process would begin in a public setting to later be completed in the artist’s safe space, the studio. An important element for the work was acknowledging this transitional sensation from tension to ease in going from one location to the next by mimicking this in its creation. You might remember two boards being fixed to the hoardings of the old FAS building on O’Sullivans Quay last year. Day 1 was met with confrontation from a passerby who seemed overjoyed witnessing the artist covering the Pride Mural. They did not like hearing that something “even queerer” would be replacing it. This immediate public reaction that in some way validated the urgency for the creation of work like this. The paintings began with an outline of the composition and each day I went to the site to block in the painting. A restricted acrylic palette was used so I could work quickly and I wouldn’t have to worry about the weather or someone smudging it. Honestly, I figured if people hovered around behind me, I’d be nervous. I didn’t know if they were going to be positive or negative about the work. Getting the paint on fast and moving on was considered. I’m happy to report most were positive.
By Stephen Doyle The necessity for a space to gather and exhale with friends and chosen families has never been more sacred.
They were primarily responding to seeing an artist paint in a public space, few engaged with the topic. Much of the marks that were made in those days were suggestive, less considered and not very playful. Switching on the creative flow couldn’t last longer than 15 minutes at a time due to built in ‘queer survival instincts.’ It usually takes the form of masking one’s behaviour to blend in. If you’re someone who can’t do this it’s all about limiting risk. Walk to where you’re going ASAP to avoid the possibility of provoking aggressive cis/straight energy. I was standing for hours every day next to a sign that read ‘Cork Pride Artist-in-Residence’ adjacent to a dodgy alley, my back to everyone, entirely on my own. My queer survival instincts were screaming “Molly, you in danger girl”. All the while trying to figure out the correct shade of blue for a pair of jeans. The worst finally happened, someone reacted physically. The end of someones lunch hit my shoulder followed by the classic, “Fag!” and a giggle. I wanted to confront this person, to call them a bigot and let them know what I thought. However, my body shut down. Feet firmly in place, giving the impression it didn’t phase me, I continued painting like nothing happened. But to say it didn’t affect me in any way would be a lie. Someone threw food at me and attempted to reduce me to something they consider less than human. Cue the violin. Towards the end of June, I was approaching the hoardings and saw more white than usual. I thought someone might have covered the paintings in emulsion to cover the work but no, they were gone. Ripped from the brackets. I went to the Garda Station to report the theft and was met initially with a lacklustre enthusiasm to find those responsible. After some investigating, I was able to come up with some information that would help keep up the pressure with the Gardai and as a result the case went up the line to a detective. After a few weeks the culprit was found and the paintings, relatively unmarked, were returned. The detective told me it was a unit of a man who ripped it down because he actually really liked the paintings and thought they were abandoned. I didn’t want to press charges as no real harm was done. I asked if I could get an apology and I’d be satisfied to let it go.
I’m still waiting for it, but at least I had them back and could complete them. After reflecting, I thought it important to keep some of these marks on the paintings to capture a moment in time when I felt vulnerable. The question became, which marks to keep, where on the board should I keep unresolved to contrast the finessed painting that would ensue? What in the reference images could carry the weight of portraying this jarring sensation of the external and internal? The image of The Gay Project I was referencing has these modernised gothic windows that lit up the room and I wondered what would happen if I drew a harsh line across the boards originating at the windows edge. Using the light as the source of an external element. Suddenly there was an unbiased line that broke up the images and I realised that the light source of LINC also came from the left hand side of the room which uniformed the two spaces aesthetically. More importantly, it bonded the pieces together in solidarity. Both of these spaces experience similar discriminations, it makes sense to bind the people in the community around these conditions. Over the next few months the paintings were developed in my studio. To a standard that (drum roll please…) met the standards of the Royal Hibernian Academy’s 193rd Annual Exhibition. This journey has had a lot of ups and downs but ended on a huge high. From stolen to the RHA… who else can say that? Both paintings will be under the care of Cork Pride and will be on display at their headquarters in Cork. They will be available for loan through Pride for exhibitions. We want this residency to continue into the future supporting other queer artists so keep your eyes peeled for further developments relating to that. This residency has been a huge highlight and it meant a great deal personally to be able to create these pieces. I’d like to thank Cork Pride for creating a space for me to make meaningful, socially engaged work with people I’m proud to call my community. I’d specifically like to thank Kery Mullally, who has continually been a supporter of mine and made the residency a reality. I look forward to working with him in the future. Further to that, Kate Moyninhan of LINC and Konrad Im of the Gay Project who welcomed me. Lastly and probably most importantly, I’d like to thank the members of both groups who inspired the paintings and posed for them. I’ll always be very grateful to you.
The LGBT+ community in Ireland is on edge. With the tragic deaths of two men in Sligo in April, both of which are being treated as murder, and possibly hate crimes, there is palpable fear in the community. The Cork Pride Artist-in-Residence work has been completed, finally some of you might say! The pieces have been on quite a journey, which is ongoing. I will tell the story behind the work’s creation and its symbolism. Here’s the first little bit of ‘In-between a place to be and where we are’. This project was inspired by space and how we occupy space. Many queer people have to create a space to exist in authentically. This is in an attempt to escape the gaze of wider society who may think we are disgusting, perverts or just strange. In 2022 and 2023 we saw what felt like endless global news articles of LGBTQ+ people being attacked and threatened not just on the street, but in government buildings. In Ireland, we had numerous assaults, the murders of Michael Snee and Aidan Moffitt, a pitiful healthcare system for trangender people and a former teacher with a divine rulebook.
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