Earth Colours

On Sunday the 2nd of May Earth colours was launched, and it was a roaring success. At ten to five however, nerves were frayed and there was a slight worry that nobody would show...

Thankfully however, twenty minutes later, there was barely standing room in the gallery the glass was clinked to notify people that Ethel was about to give her artists speech.

"The inspiration for the show", said Ethel, "came from the amazing colours of the Irish landscape that change so often and so dramatically". The work on show most certainly does reflect our unique landscape. Ethel's ability to convey the power and colour of North Leitrim emotively, while also retaining her own individual interpretation is a unique gift. And I am not alone in my thinking, for as I mingled and chatted with the attendees, I was really struck by how many people were moved by the work. Commercially also, the show was a huge success, as seven of the Earth colours pieces on show were sold, while two of Ethel's older pieces were also snapped up.
In Ethel McVeigh, Leitrim has an artist they can be proud of. Her down to earth character, combined with her intriguing talent makes for an ideal combination. For those of you who couldn't make it to the show on Sunday, I highly recommend visiting the Morpheus Gallery to get a glimpse of this up and coming talent.

The Morpheus Muse

Art and perception

"The role of perception is to make sense of sensation. Perceptual processes extract meaning from the continuously changing, often chaotic, sensory input from external energy sources and organise it into stable orderly precepts. A precept is what is perceived - the phenomenological, or experienced, outcome of the processes of perception. It is not a physical object... rather, [it is] the psychological product of the perceptual activity".

- Psychology and life (Philip G. Zimbardo and Richard J. Gerrig) -

Within every artist, some would say every person, lies the impulse to create. Of course this impulse is not confined to the arts, as creation takes many forms but for the artist it lies at the core of what they do. In the wake of the creation impulse follows a concept, an idea of what might be. It need not be a fully formed idea, perhaps it is just a notion the seed of something yet to develop, but it is always there. Some artists develop there pieces in there entirety prior to the creation process, others develop the concept simultaneously, allowing it to evolve in a more organic fashion. What follows of course, is the process which eventually leads to the production of a piece of art. Whether the art is conceptual, sculptural, or even performance based is not of primary concern. It is the development process of the concept behind a piece that we are interested in.

At the beginning of this piece is a quote from Philip Zimbardo and Richard Gerrigs' excellent book, 'Psychology and life'. The quote describes perceptual organisation as the process of 'making sense of sensation'. Sensation here, referring to the conversion of external energy into the neural codes recognised by the brain. It can be understood as a first pass representation of the basic facts of our immediate environment. Perceptual organisation takes this first pass information and develops precepts, categorisations of the information as objects, people and things. These precepts are developed over a life time and all have some emotional attachment, depending on the life experience of the person in question.

As artists, we take our own set of precepts as a starting point and from here, use our creative impulse to develop the concepts that drive our work. It is through perception and experience that we develop these concepts, and through perceiving our own and others creative exploits that we can add to our well of inspiration.

It is the role perception has played in art, both from the angle of the artist and the viewer, that has fueled some of the most interesting movements in art over the years. Art has gone from slavish reproductive work, to impressionist lustre, to conceptual analysis of the systems of art. Yet all these processes have perception at there core and in my opinion always will. Even if an artist managed to create a piece of work that avoided any of her own perceptual input, it would instantly be categorised on viewing. Inevitably, any attempt to sidestep the loop of perception is doomed to fail, but the question I would like to pose is this. Should we stop trying?

The Morpheus Muse

Sandra Vernon Interview

Well known in Leitrim as a visual artist Sandra Vernon also works with paper in various forms. Her drawings are mainly to commission, although she does do the odd exhibition here and there. Some of her work is currently on show at the Morpheus gallery, Carrick-on-Shannon.


1. What started you on your journey as an artist?

As a child I was always drawing on my schoolbooks. A very advanced teacher, it was the early fifties brought me in paper, pencils and newspaper adverts to copy. He asked me to spare the books, pay attention to my lessons and keep drawing. Have been ever since!

2. At what point did you go from amateur to professional artist?

The trip from amateur (I don't like that word, in the arts it seems to imply second rate rather than as a pastime) came gradually from my involvement with "Visual Leitrim" twenty plus years ago and encouragement from people like John Hunt as well as artists like Malachy Costello and Fergus Lyons.

3. How do you feel your style has developed over your career? Have there been any artists along the way that have influenced your development?

Influence first. When I lived in Germany there was much more cultural awareness of the arts. I had the opportunity to see many of the then new artists work, Dali, Miro, Henry Moore and more, such an awakening. Even though many of the things I draw are everyday, what the experience said to me was that one didn't have to do what everybody else expects. As to style, when I look back I can see the development, more detail, larger, more challenges. Even though my first love for a subject is stone, buildings and shapes I have taken on new challenges. First animals, all that hair, a lot of pen strokes!!! And recently portraits - the ultimate challenge in pen and ink, you just cannot make a mistake.

4. You mentioned the pen strokes. Most of your two dimensional work is in pen and ink. What is it about this medium that attracts you?

Again back to childhood. Painted a bit, still do, but became more interested in the light of a picture. Back to black and white and then, oh wow, the advent of Rotring technical pens. Then came the challenge of using the finest point I could find, building the shading to give form to the image. Not being a patient person I find the short strokes fulfills a need to "get there" yet at the same time it is so relaxing and enjoying.

5. Apart from your drawings you are well known for your work in papier mache. Do you see this work as different to your two dimensional work?

In many ways the papier mache is an extension of my drawings. I used handmade paper for my drawings sometimes, and felt that somehow I wanted to use the transparency and texture of the paper in a more three dimensional form, and of course light it. Perhaps I'm a frustrated sculptor but I do find the process of tearing up expensive papers brings me to a completely different head space.

6. You are a member and on the committee of the Solas art gallery in Ballinamore. How has being involved with the running of the gallery affected you?

Having had my own gallery and helped setup and run a few gallery/exhibitions I find it enjoyable. I enjoy encouraging and helping other artists. A committee helps run the gallery and I do PR for the gallery every month. Not being a disciplined person it provides panics every month, but it gets done and so does my work.

7. How do you know when a piece is finished?

How does anybody? If it's a commission the deadline often tells you. Seriously, it's more a feeling than something physical. As I like to work straight through on a piece, when I put down the pen I am 95% there. It gets pinned on the wall and looked at for a while, a few more strokes, dots a bit more shading and that's it. If you overwork with pen and ink it can be a disaster, learned that early on.

8. What do you think of the current state of the Leitrim art world? Is it on a par with the rest of the country?

Here I have to admit my ignorance of the rest of the country. I love some of the work being produced, can't stand some of it and frankly, don't understand the rest. In Leitrim I think a balance is being achieved slowly. Due to long ago times of inexpensive houses, good grants etc. we had an influx of artists but with no outlets. Now there is the Sculpture centre, Dock, Design house, Solas and Morpheus. Each catering for a certain section of artists, I feel we need more in the county. We certainly have enough artists on all levels to avail of them.

9. Where do you see yourself in ten years?

Not sure, planning too far ahead after the allotted three score and ten seems a bit presumptuous!

10. Any advice for young artists starting out?

Go for it, be open minded, and as I was told "learn to type, you might need a job".

Lynda Gault Interview

Lynda Gault is a ceramicist based in Sligo whose pieces can be found in various shops and galleries all around the country. Opening her studio in 2007 she has already made quite a name for herself. Here at Morpheus, her work is some of the most popular that we have. Her stoneware forms show a deep understanding of the relationship between functionality and aesthetics. Lynda's glazes meanwhile, seem perfectly suited to the shapes she works with, enhancing both the movement and the solidity of her pieces. We caught up with Lynda this week, to discuss her work and the craft industry in Ireland.

How did you get into ceramics in the first place, what attracted you to it?
I did a course in Ceramics and craft design but was going mainly for the craft design as I always enjoyed textiles and other mediums. The course was my first time to use clay and once I did I fell for it. I then went on to do an apprenticeship in pottery.

What was the main influence on your work when you started?
I'd have to say the clay itself was my primary influence. It's such an organic medium, but it also has a stubborn side. There is so much to learn about it both in a scientific and a working sense. I just wanted to learn about it and see what I could do with that knowledge.

Do you think knowledge of the clay is still your primary focus?
I can't say that has changed much now as one can never stop learning, however the chemistry of glazes has taken over a bit in that sense. Glaze technology is like alchemy and formulating glazes can be at once thrilling and extremely frustrating.

Do you feel your style has changed as you've developed?
Like anything, the more you work, the more you improve your skill and becoming more skillful allows you to experiment more. I would have to say that my forms have become simpler. Clean simple forms only work well when they're well made and I feel that I'm only getting to the stage now that I'm capable of that.

Has the commercial side of ceramics affected your work?
The commercial side certainly affects my work. It is after all a business. It's really important to keep in touch with trends and markets and while these wouldn't be the drive behind a design, they need to be considered.

When you are creating a prototype design for a range, what process do you use?
I kind of work back to front. I come up with the glazes first and then work on shapes to suit. I find that once there is a piece I'm happy with in a range the rest follows relatively easily.

How do you know when a piece is finished?
I don't think they're ever really finished - they're constantly growing.

What do you think of the craft industry in Ireland?
I think Irish craft has a good profile at the moment. There are so many fine craft workers out there and the standard is very high. It keeps you on your toes!

Where do you see yourself in ten years?
I guess I'd just like to be able to continue doing what I'm doing and have a recognisable brand. Getting the name out there is a slow process but if it's not done by ten years it might be time to have a rethink!

How do you like to unwind?
Unwind? Now there's a notion I haven't considered in a while! I suppose it would be meeting with friends and family, or just relaxing in front of a film or curled up with a good book.

How have you handled the business side of your work?
I consider every side of my work to be business. Making pots may not sound like business, but production is the core of the whole thing.

Any advice for a young potter starting out?
I can't recommend proper training highly enough. The pottery school in Kilkenny is fantastic. I did the one in Derry but unfortunately it lost its funding so its no longer there. Working for another potter then will give invaluable insight into the working of a business. And if you are starting out on your own, be prepared to lose the romantic notion of pottery. It's a wonderful way to work and I wouldn't change it for the world, but it is, at the end of the day, work.

For more information on Lynda go to www.lyndagaultceramics.ie or drop into the Morpheus gallery to see her work.

The Morpheus Muse

Interview with Michael Budd

Michael Budd is a Sligo based blacksmith who creates his art from his forge at riverstown. His work is available to view around the country and also at the Morpheus Gallery in Carrick-on-Shannon. Ahead of his demonstration of the smithing process at the gallery, we decided to interview Michael to see what makes him tick.

When did you first get interested in blacksmithing and why?
My dad was a welder on the docks and he worked with a chain and anchor blacksmith and I was captivated by how he would sculpt larger lumps of metal into functional objects.

What was your early experience of blacksmithing and how did it influence your development as an artist?
The first time I actually got to forge was when I was sixteen and training in metal fabrication. A contract came in where the customer wanted forged finials. I was given the job and it took me two weeks to forge them all out. It was the hottest two weeks of the year but I loved every moment.

Who were your main influences when you began smithing, both from an artistic point of view and a practical one?
Firstly Brian Halpin the smith I trained with. He had a great love of forge work and it was very infectious. That took about three minutes to rub off on me. Once I started to look around at other smiths work David Tucker from the UK was a big influence. His clean designs mixed with flawless technique really struck a chord with me. I have since met David and he was as inspirational as his work.

How do you feel your work has developed since you began smithing?
My own style comes through more and more as I grow in experience. I have found the biggest change is the ambition of my work has grown along with its scale as I develop my skills. Technique seems to be a dirty word in the art world in the last ten years, but I find it's the only way I can fully realise my artistic vision.

What process do you use when you create a piece?
Mostly when it comes to sculpture I don't sketch ideas at all. I prefer to work in my medium which is hot forged steel. I have an idea in my head and I go for a walk and work through the process of forging it. I then go back to the forge, write out a cutting list and start. Then there's no going back.

What current projects are you working on?
I've just finished a gate which is call "The River Gate". This is my entry into the RDS national craft awards this year. I also have a piece of sculpture at in the forge for the past half year which I now feel is ready to complete.

How do you know when a piece is complete and ready to show?
I find this easy in fact I've never thought about when a piece is finished until this moment. As I start with a finished concept in my mind I know where I want to go with it. When the piece matches what is in my head it's done.

Where would you like your work to go in the future, how do you envision it developing?
I'm always working towards larger scale work, which really means public works of art. Also in the next few years I'd like to work more in the restoration of forge work.

What are your views on Irish blacksmithing and the craft movement in Ireland?
There is a very high standard of forge work in Ireland but it is constantly overlooked and blacksmiths need to do more to push their work into the public eye. I find the craft movement in Ireland spends too much time listening to so called marketing experts and not enough time looking at the world outside Ireland. This has the result of a lot of nice but bland work that you can find in almost every town in Ireland. It leaves me feeling cold.

Who is your current favourite artist?
Kit Simmons, his work has always blown me away. It works on every level and you always want to know the story behind his work.

What other interests do you have (other than blacksmithing)?
Books, I like to unwind with a good read. Walking, it helps me think and is a good source of inspiration for me. Other than that it's family and blacksmithing.

Your wife Tiffany is a jeweller, how has she influenced your thinking regarding your own art?
Tiff has had a massive influence on me and my work. She is the reason I'm forging today, she gave me the confidence to go and train in the first place. Also, her work is free flowing yet precise, I try to bring some of that to my own work.

How do you handle the business side of being an artist?
The hardest part is juggling with marketing, networking and paperwork. Then you have to find time to create, it can leave you feeling drained.

What advice can you give any blacksmiths starting out?
Find a good comprehensive college course in forge work then work for at least two blacksmiths before starting out on your own. That should give you five years to develop your technique and ideas before you have to handle the business end.

To view Michael's work drop into the gallery or visit www.michaelbudd.ie

Interview with Ethel McVeigh

Ethel McVeigh is the co-owner of the Morpheus gallery and a very well known Leitrim artist. Her work focuses on the colours within the Leitrim landscape and the how they change over various time frames.

When did you first get interested in art?
When I was about eight I made a get well card for my teacher when she was sick. I painted a rose on it and I got a lot of praise for it off everybody. It was then that I discovered my gift for art.

At what point did you decide to make painting your full time profession?
About eight or nine years ago I began to paint seriously. I can't remember the way it happened. I started painting and then shortly after I began teaching.

Did that take off straight away?
Well I was on my own with four kids at the time so I gave painting classes, did work for the V.E.C., sign writing, whatever paid the bills.

How has being an artist affected your life and perspectives?
It built up my confidence, because I was working with the public. I also found myself a career that I loved.

You have four children, how do you think they feel about you being an artist?
I think they feel proud and they like my work. They are all interested in art, mostly the oldest and the youngest but the whole lot of them have a talent for it. They've all won prizes for it at some stage.

You have been teaching for many years and have been involved with lots of community art projects around Leitrim, how has this affected your thought process?
I enjoy watching my students discover they can paint. It gives me energy and feeds back into my own discoveries. I had a woman in an art class who never painted before and she went on to got to college and study art. I suppose I was proud that she discovered her ability through me, if that makes sense I don't know.

What inspires your art?
The Leitrim landscape inspires me. The variety of colours in the land change so dramatically, from hour to hour and from month to month.

Who has been the biggest influence on your art?
My father, because of his encouragement. It is because of his kind words I am where I am now. Also Vincent Flannery, my art teacher in secondary school, in different ways they both inspired me to follow my dream.

You launched the Morpheus Gallery with Gareth Curtis last September, how have you handled this new challenge?
I find it very difficult being a curator, because it's difficult when you have to tell someone their work isn't good enough, or that it's not what your looking for.

What have you learned while running Morpheus?
It's easy to get into debt!

What are you currently working on?
I'm working on a new technique that mixes ink, watercolours , pastel and the colours of the Leitrim landscape. I'm trying to explore new ways to express the Leitrim landscape using these different media.

What are your plans for the next year or so?
I intend to explore the technique I told you about. I have an exhibition coming up in may and then another in September 2011 in the U.C.C. art gallery. I also want to delve into life drawing and develop a body of work around my drawings.

Where do you see yourself in ten years?
Here in Carrick-on-Shannon, running the gallery and painting full time.

What advice would you give to any artists starting out?
Be free with your work and don't be afraid of making mistakes.

To see some of Ethel's work take a look on the Morpheus Galleries face book page, www.facebook.com/themorpheusgallery

The Morpheus Muse

Spring Show

The sun was splitting the stones in Carrick-on-Shannon last Sunday and a fresh spring breeze gently filtered the river air through the town. It truly was a great day to be alive. We opened the gates at 3.30 p.m. just to let the Sunday afternoon strollers wander down to the gallery. Some came out of curiosity, some for a love of art, and perhaps a few came because of the obligatory free wine that comes with an Art opening. It was a lovely atmosphere, even though the numbers in attendance were a little under what we were hoping for.
One of the things that really impressed us was the amount of people that showed up who were strangers to us at the Morpheus gallery. It was a really lovely feeling to be showing such wonderful art to a fresh faces. The artists that came for the opening were equally impressed and although financially the opening was not as big a success as we were hoping for, there were several other positives to take from the show. The images from the opening itself are currently not available but we should have them by tomorrow so we'll have them up soon enough.
If you haven't been to see the show, please feel free to drop into see us, as there really is some quality work on show. Thanks to everyone who did come, to the artists, and to you for taking the time to read this.

Talk to you tomorrow,

The Morpheus Muse