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HTMLText_B21DEBB9_BC0C_A054_41DF_604F0407E077.html = 360 Degree Photographic Services
Contact : Martin Dunne
Mobile : 086 267 84 70
Email : info.seebig@gmail.com
360 Degree Photographic Services
Contact : Martin Dunne
Mobile : 086 267 84 70
Email : info.seebig@gmail.com
Maree Egan is a multimedia artist based in
Dublin. Her work examines the human
condition both on a personal and on a
collective level. Maree captures the essence
of absent friends and foreign lands in her
latest body of work Quest. In 2011 during a
retreat at an ashram in Rishikesh on the banks
of the river Ganges in India she met an
American Swami by the name of Alexander
Ogden DiMeo who offered spiritual guidance
at a particularly challenging time in her life. A
strong bond developed between two kindred
souls that would last until his untimely death
in 2013. In the artists own words ‘in hindsight
meeting Alexander was truly a blessing and
he restored my faith in humanity. My
intention is to bring him back to life momentarily
and to honour a lasting legacy of
friendship from a man I am so proud to call
my friend. The extraordinary, the unique, the
unforgettable Alexander whose memory will
never be extinguished from my mind’.
IG @maree_3_e
www.mareeegan.com
Louis Haugh is a visual artist based in Dublin
working with photography, video and audio.
Situated at the intersection of art and ecology,
his research looks to the history and
provenance of non-native conifer trees and
commercial forestry in Ireland.
Specifically his research looks at Ireland’s
colonial history as a key factor in the
introduction of the alien tree species Picea
Sitchensis (Sitka Spruce). Using
anachronistic and overlapping photographic
processes to make images, his work
displaces the timeline usually presented by
photography’s canon and instead
questions authorship, agency and re-presentation
within the broader framework of
photographic work today.
IG @louishaugh
www.louislouis.ie
Burning plant material. Smoke connotations
and associations; striving to reach the
heavens, Native Americans used smoke in
communication - smoke signals. Can a
cigarette be a sign of rebellion? In Christian
religions the smoke from incense accompanies
prayers, rising up to heaven, smoke is
multi-denominational, from Pagan Ritual to
Christian Mass. In Buddhism the burning of
an incense stick teaches the necessity to burn
away negative qualities within oneself in
order to reveal the pure self within. The
fragrance it gives off spreads far and wide,
just as a good deed brings benefits to many.
Incense rises and dissolves into the air
suggesting to the viewer the transient nature
of our existence.
IG @eveparnellartist
www.eveparnell.com
Louis Haugh is a visual artist based in Dublin
working with photography, video and audio.
Situated at the intersection of art and ecology,
his research looks to the history and
provenance of non-native conifer trees and
commercial forestry in Ireland.
Specifically his research looks at Ireland’s
colonial history as a key factor in the
introduction of the alien tree species Picea
Sitchensis (Sitka Spruce). Using
anachronistic and overlapping photographic
processes to make images, his work
displaces the timeline usually presented by
photography’s canon and instead
questions authorship, agency and re-presentation
within the broader framework of
photographic work today.
IG @louishaugh
www.louislouis.ie
Vanessa Jones is primarily a figurative painter
whose practice explores themes around the
feminine, Eastern and Western art traditions
and the repetition of historical and cultural
imagery. Her paintings often bring contradictory
ideas that exist within herself and the
world at large. Using self-portraiture to
address themes around isolation, confinement,
protection, danger and the relationship
between nature and culture, ultimately, her
paintings deal with the quiet assertion in the
power of the feminine and the strength in its
potential to be dangerous.
Jones is showing two paintings, both repeating
a walled garden motif using the chain link
fence. This is a cultural signifier but also
speaks to the feminine unseen as well as the
push and pull of nature and culture. In her
painting HoMi Hand Plow, her figure is
modelled after an eighteenth century pastel of
Marie Antoinette by Liotard. She wanted to
incorporate the engaging calm and juvenile
femininity of the girl into a Venus of Willendorf-
like weightiness in her own figure.
Where the young Marie Antoinette is light,
the figure in her painting is heavy,
pregnant-like and unmoveable. Jones trades
the thread and spindle that Marie Antoinette
holds for a Korean hand plow. It is sharp,
useful and dangerous.
IG @vanessaleejones81
vanessajonesartist.com
Louis Haugh is a visual artist based in Dublin
working with photography, video and audio.
Situated at the intersection of art and ecology,
his research looks to the history and
provenance of non-native conifer trees and
commercial forestry in Ireland.
Specifically his research looks at Ireland’s
colonial history as a key factor in the
introduction of the alien tree species Picea
Sitchensis (Sitka Spruce). Using
anachronistic and overlapping photographic
processes to make images, his work
displaces the timeline usually presented by
photography’s canon and instead
questions authorship, agency and re-presentation
within the broader framework of
photographic work today.
IG @louishaugh
www.louislouis.ie
Martyna’s painting installation explores ideas
of social agency and identity in today’s world.
Present-day social and political tensions and
the uncertainty of climate change make us
waver between feelings of enthusiasm and
despair. These increasingly concerned
societies are spurred to strike and voice their
opinion openly. Rallies, for and against ideas
or social orders are moments of change,
sometimes for better, but also often for worse.
Sadly, most of them do not offer resolutions;
only frustration.
Using images of these moments of action as a
source material Martyna, is exploring the
duality of the possible perception of those
visuals – the purely aesthetic vs. the meaning
of the varied histories these events involve.
Figures frozen in time, covered with the mist
of tear gas and illuminated by flares, can be
equally seen as beautiful and frightening
depending on the context. These contradicting
forces are what intrigues her—the space
in-between seductive and unpleasant; violent
and indifferent; performance and failure.
Martyna’s paintings, removed from the wall,
are staged into a ghostly and deserted protest.
Viewers who are encouraged to get closer can
become part of the installation allowing it to
become a dynamic and changeable
form - peopled and neglected; alive and
passive. What is the meaning of this protest?
IG @martynalebryk
www.martynalebryk.com
Martyna’s painting installation explores ideas
of social agency and identity in today’s world.
Present-day social and political tensions and
the uncertainty of climate change make us
waver between feelings of enthusiasm and
despair. These increasingly concerned
societies are spurred to strike and voice their
opinion openly. Rallies, for and against ideas
or social orders are moments of change,
sometimes for better, but also often for worse.
Sadly, most of them do not offer resolutions;
only frustration.
Using images of these moments of action as a
source material Martyna, is exploring the
duality of the possible perception of those
visuals – the purely aesthetic vs. the meaning
of the varied histories these events involve.
Figures frozen in time, covered with the mist
of tear gas and illuminated by flares, can be
equally seen as beautiful and frightening
depending on the context. These contradicting
forces are what intrigues her—the space
in-between seductive and unpleasant; violent
and indifferent; performance and failure.
Martyna’s paintings, removed from the wall,
are staged into a ghostly and deserted protest.
Viewers who are encouraged to get closer can
become part of the installation allowing it to
become a dynamic and changeable
form - peopled and neglected; alive and
passive. What is the meaning of this protest?
IG @martynalebryk
www.martynalebryk.com
Maree Egan is a multimedia artist based in
Dublin. Her work examines the human
condition both on a personal and on a
collective level. Maree captures the essence
of absent friends and foreign lands in her
latest body of work Quest. In 2011 during a
retreat at an ashram in Rishikesh on the banks
of the river Ganges in India she met an
American Swami by the name of Alexander
Ogden DiMeo who offered spiritual guidance
at a particularly challenging time in her life. A
strong bond developed between two kindred
souls that would last until his untimely death
in 2013. In the artists own words ‘in hindsight
meeting Alexander was truly a blessing and
he restored my faith in humanity. My
intention is to bring him back to life momentarily
and to honour a lasting legacy of
friendship from a man I am so proud to call
my friend. The extraordinary, the unique, the
unforgettable Alexander whose memory will
never be extinguished from my mind’.
IG @maree_3_e
www.mareeegan.com
Join me on a journey of grim self-discovery.
Kitsch Doom works between performance,
video, photography, sculpture and
printmaking. Their work is informed by
themes on identity, the body, and social
expectations. Enlightened by theories on
gender, sociology and post-humanism, Kitsch
transforms themselves and volunteers into
fictional characters. These characters are
derived from a place that is deeply personal
from themselves and the volunteers involved.
Kitsch creates narratives for these characters
based on reality as well as fiction.
The characters occupy a world where
traditional roles and ideas still linger yet they
dream of moving on from them and
sometimes try to. This fictional world acts as
a reflection of the one we are living and
experiencing right now. A world where fiction
and reality hold the same merit. The work
occupies a space that lies in-between performance
and theatre, sexuality and gender and
the social body and individual freedom.
IG @kitschdoom
Both paintings were inspired by the group of
clients I had the pleasure of working with at
Rua Red Gallery Tallaght.
Through our conversions, painting together
and interactions they came with an idea for a
name for a painting. As we only had another
half day the following day I decided to bring
in some canvas aprons, I brought the aprons
in the following day. I asked the clients to
start mark marking on the aprons. I also
explained that as we could not finish the
work this day “as we had been working on
another and so we finish one” upon completion
of this this piece we would do something
with canvas aprons” We had an hour left so I
explained I would create a big piece of work
and include the aprons. As I was in college I
told them I would include the aprons in this
work. I asked them to come up with their
original idea, something around nature, we
had little time so they began to paint flowers
and colors of nature. I eventually
got two pieces finished while doing my
first-year masters using the aprons and
different medias. I had an intention to get the
group back together at Rua Red and all was
agreed then the lockdown due to covid
occurred, hence we never got the chance to
reform. So, I finished both and these are
the ones I am submitting. “What I found on
the 12ft x5ft was an inscription of a piece of
text called Summer Breeze, this text is on one
of the aprons and so the name was decided by
one of the clients even before the work had
begun. Summer Breeze so from this name I
had being given a concept for a piece of
wonder. The name has created my connection
with this wonderful group. So, I feel truly
grateful and filled gratitude. Thanks to all for
accepting me warts and all.
jimmyrleonard@gmail.com
From her experiences with multiple cultures,
Bettina Saroyan has a taste for cameo
references, absurd situations and an inclination
to play with perception of our own
reality. Fascinated by new technologies and
weaving, mostly inspired by books and
cinema, she tries to connect the dots to those
four fields that have, at first glance, nothing
in common.
Her piece in Rua Red reflects her desire for
naive playfulness, magic and mystery in
times of extreme tension and fear. Inspired by
philosophers Gaston Bachelard, Bernard
Stiegler, directors Andrei Tarkovsky, Jacques
Demy and artists Rachel McLean and Laure
Prouvost. Exploring themes such as female
gaze, gender and racial attributes, sexualisation,
every little part is a piece of reference
hidden in a childish world that is falling into
decay throughout the videos.
«I would like to tell you to believe in magic
because it’s everywhere and especially in the
small instants. I want to move you, get a
reaction. Start to raise questions. I‘ve always
preferred questions rather than answers.
Nothing you see is what you think, there are
always things you ‘ll never see or understand
and that’s the beauty of our universe.
Welcome to my shower in a box on a pedestal
in a gallery where only the boldest and
imaginative spirits can enter.»
IG @bettinasaroyan
Martyna’s painting installation explores ideas
of social agency and identity in today’s world.
Present-day social and political tensions and
the uncertainty of climate change make us
waver between feelings of enthusiasm and
despair. These increasingly concerned
societies are spurred to strike and voice their
opinion openly. Rallies, for and against ideas
or social orders are moments of change,
sometimes for better, but also often for worse.
Sadly, most of them do not offer resolutions;
only frustration.
Using images of these moments of action as a
source material Martyna, is exploring the
duality of the possible perception of those
visuals – the purely aesthetic vs. the meaning
of the varied histories these events involve.
Figures frozen in time, covered with the mist
of tear gas and illuminated by flares, can be
equally seen as beautiful and frightening
depending on the context. These contradicting
forces are what intrigues her—the space
in-between seductive and unpleasant; violent
and indifferent; performance and failure.
Martyna’s paintings, removed from the wall,
are staged into a ghostly and deserted protest.
Viewers who are encouraged to get closer can
become part of the installation allowing it to
become a dynamic and changeable
form - peopled and neglected; alive and
passive. What is the meaning of this protest?
IG @martynalebryk
www.martynalebryk.com
Ann-Marie is inspired by the association
between visual art and observing the viewer’s
connection with the artwork. Kirwan’s
transition from sculpture to video
during #Lockdown pushes the limits of the
human body’s ability to endurance. Holding
her breath underwater. The sole emphasis is
on ‘breathing’, something we all have in
common and a requirement for our very
existence.
IG @kirwanann
Join me on a journey of grim self-discovery.
Kitsch Doom works between performance,
video, photography, sculpture and
printmaking. Their work is informed by
themes on identity, the body, and social
expectations. Enlightened by theories on
gender, sociology and post-humanism, Kitsch
transforms themselves and volunteers into
fictional characters. These characters are
derived from a place that is deeply personal
from themselves and the volunteers involved.
Kitsch creates narratives for these characters
based on reality as well as fiction.
The characters occupy a world where
traditional roles and ideas still linger yet they
dream of moving on from them and
sometimes try to. This fictional world acts as
a reflection of the one we are living and
experiencing right now. A world where fiction
and reality hold the same merit. The work
occupies a space that lies in-between performance
and theatre, sexuality and gender and
the social body and individual freedom.
IG @kitschdoom
Lisa Karnauke is a visual artist based in Kiel, Germany. Generally, she is working in the mediums of installation, intervention and conceptual framing. At the time being, she is especially interested in expectations and judgments on artworks based on an established framework of language shaped by institutions and some sort of a pop-modern insatiability undermining western culture. Often, her works are meant as subtle, slightly provocative and humorous comments within the context of their display.
In 2020, Lisa was an Erasmus student at Dublin´s NCAD. Having finished her Bachelor's degree in Fine Arts with the additional subject of Philosophy in 2019, she is currently studying Sculpture and Conceptual Art (MFA) under Elisabeth Wagner at the Muthesius School of Fine Arts. She is part of the artist collective Atelier Umraum (Kiel) and took part in the Prima Kunst e.V. from 2016 to 2019.
IG @lisakarnauke
Both paintings were inspired by the group of
clients I had the pleasure of working with at
Rua Red Gallery Tallaght.
Through our conversions, painting together
and interactions they came with an idea for a
name for a painting. As we only had another
half day the following day I decided to bring
in some canvas aprons, I brought the aprons
in the following day. I asked the clients to
start mark marking on the aprons. I also
explained that as we could not finish the
work this day “as we had been working on
another and so we finish one” upon completion
of this this piece we would do something
with canvas aprons” We had an hour left so I
explained I would create a big piece of work
and include the aprons. As I was in college I
told them I would include the aprons in this
work. I asked them to come up with their
original idea, something around nature, we
had little time so they began to paint flowers
and colors of nature. I eventually
got two pieces finished while doing my
first-year masters using the aprons and
different medias. I had an intention to get the
group back together at Rua Red and all was
agreed then the lockdown due to covid
occurred, hence we never got the chance to
reform. So, I finished both and these are
the ones I am submitting. “What I found on
the 12ft x5ft was an inscription of a piece of
text called Summer Breeze, this text is on one
of the aprons and so the name was decided by
one of the clients even before the work had
begun. Summer Breeze so from this name I
had being given a concept for a piece of
wonder. The name has created my connection
with this wonderful group. So, I feel truly
grateful and filled gratitude. Thanks to all for
accepting me warts and all.
jimmyrleonard@gmail.com
Join me on a journey of grim self-discovery.
Kitsch Doom works between performance,
video, photography, sculpture and
printmaking. Their work is informed by
themes on identity, the body, and social
expectations. Enlightened by theories on
gender, sociology and post-humanism, Kitsch
transforms themselves and volunteers into
fictional characters. These characters are
derived from a place that is deeply personal
from themselves and the volunteers involved.
Kitsch creates narratives for these characters
based on reality as well as fiction.
The characters occupy a world where
traditional roles and ideas still linger yet they
dream of moving on from them and
sometimes try to. This fictional world acts as
a reflection of the one we are living and
experiencing right now. A world where fiction
and reality hold the same merit. The work
occupies a space that lies in-between performance
and theatre, sexuality and gender and
the social body and individual freedom.
IG @kitschdoom
Vanessa Jones is primarily a figurative painter
whose practice explores themes around the
feminine, Eastern and Western art traditions
and the repetition of historical and cultural
imagery. Her paintings often bring contradictory
ideas that exist within herself and the
world at large. Using self-portraiture to
address themes around isolation, confinement,
protection, danger and the relationship
between nature and culture, ultimately, her
paintings deal with the quiet assertion in the
power of the feminine and the strength in its
potential to be dangerous.
Jones is showing two paintings, both repeating
a walled garden motif using the chain link
fence. This is a cultural signifier but also
speaks to the feminine unseen as well as the
push and pull of nature and culture. In her
painting HoMi Hand Plow, her figure is
modelled after an eighteenth century pastel of
Marie Antoinette by Liotard. She wanted to
incorporate the engaging calm and juvenile
femininity of the girl into a Venus of Willendorf-
like weightiness in her own figure.
Where the young Marie Antoinette is light,
the figure in her painting is heavy,
pregnant-like and unmoveable. Jones trades
the thread and spindle that Marie Antoinette
holds for a Korean hand plow. It is sharp,
useful and dangerous.
IG @vanessaleejones81
vanessajonesartist.com
Martyna’s painting installation explores ideas
of social agency and identity in today’s world.
Present-day social and political tensions and
the uncertainty of climate change make us
waver between feelings of enthusiasm and
despair. These increasingly concerned
societies are spurred to strike and voice their
opinion openly. Rallies, for and against ideas
or social orders are moments of change,
sometimes for better, but also often for worse.
Sadly, most of them do not offer resolutions;
only frustration.
Using images of these moments of action as a
source material Martyna, is exploring the
duality of the possible perception of those
visuals – the purely aesthetic vs. the meaning
of the varied histories these events involve.
Figures frozen in time, covered with the mist
of tear gas and illuminated by flares, can be
equally seen as beautiful and frightening
depending on the context. These contradicting
forces are what intrigues her—the space
in-between seductive and unpleasant; violent
and indifferent; performance and failure.
Martyna’s paintings, removed from the wall,
are staged into a ghostly and deserted protest.
Viewers who are encouraged to get closer can
become part of the installation allowing it to
become a dynamic and changeable
form - peopled and neglected; alive and
passive. What is the meaning of this protest?
IG @martynalebryk
www.martynalebryk.com
In the past I've produced collages, performances,
prints and installations. I recently
began making figurative paintings that aim to
explore and negotiate the relationship
between artist, subject and viewer. These
paintings are nonetheless deeply questioning
images about ever-shifting human connections
and the endless intricacies of looking.
Notions of sensuality and self-disclosure are
parceled up in this work.
In an age dominated by the digital image and
mass media, I cherish the physicality of the
human touch with work that is a testament to
the meaning and potency of painting. When
I’m looking for material, it’s not so much
about the content as to how to handle the
material to evoke an emotional response. Our
emotions make us human. These paintings
wait mutely – patiently – for the viewer to
animate them. A dynamic, intimate encounter
between painting and observer.
My paintings are a flattening of forms, a
simplification of detail, choosing to reveal
sections of canvas and making careful use of
them generally with only one-layer of paint
and completed in one sitting, these are
trademarks of my work. My confident, crisply
articulated technique makes you see the world
the way I see it, with all but the most essential
details pared away. I contrast between overt
simplicity and representational complexity
exaggerating the subtle space between
emotions and feelings, and the act of looking
and being looked at; many of my paintings
are of people in intimate, private spaces—at
home reading or in the bath, for
instance—and are modelled after photographs
or pre-existing artworks. Emerging from a
cache of pictorial references that posit a
revisiting of neo-classical interiors, Antonioni
and Italian cinema, postmodernism and the
portrait as trope. The majority of my works
may be categorised as 'portraits', but they are
not portraits in the traditional sense. Rather
than representing an actual person, they
represent an emotion or a state of mind.
IG @_leewelch_
www.leewelch.com
Palcik’s latest video "Earth Calling" reveals
the limits of the human body with the main
emphasis on the sound of the lived experience.
The pure existence of our bodies is
often neglected and sadly taken for granted.
The short video honours the memory of an
already forgotten life event and it celebrates
human experience, nature, and female
sexuality. Palcik made this piece for Rua Red
show "We are solitary" for its association
with our current, somewhat alienated adaptation
of life.
IG @palcik4
www.palcik.com
Join me on a journey of grim self-discovery.
Kitsch Doom works between performance,
video, photography, sculpture and
printmaking. Their work is informed by
themes on identity, the body, and social
expectations. Enlightened by theories on
gender, sociology and post-humanism, Kitsch
transforms themselves and volunteers into
fictional characters. These characters are
derived from a place that is deeply personal
from themselves and the volunteers involved.
Kitsch creates narratives for these characters
based on reality as well as fiction.
The characters occupy a world where
traditional roles and ideas still linger yet they
dream of moving on from them and
sometimes try to. This fictional world acts as
a reflection of the one we are living and
experiencing right now. A world where fiction
and reality hold the same merit. The work
occupies a space that lies in-between performance
and theatre, sexuality and gender and
the social body and individual freedom.
IG @kitschdoom