If there was the possibility of a straight house swap between the art objects at the Joinery and The Douglas Hyde Gallery the art would be irrevocably altered, and not for the better I bet: which leads on to the point that fascinating art practices do not need to be framed by a ‘perfect’ space.

At Douglas Hyde Gallery femininity exudes from Aleana Egan’s floorbound mixed-media work no noise, no glass, no upholstery boxed her up from the extraordinary (2012). Th echoing “no” from Egan’s meandering title is also found in one of Virginia Woolf ’s journal entries from 1904 following her father’s death: “His life would have ended mine... No writing, no books — inconceivable.” Woolf is a ghost-protagonist in Egan’s art: I distinctly remember her being referenced in the artist’s inferior solo show at Temple Bar Gallery + Studios, Dublin, in 2010. Egan’s allusions to literature always seem fugitive, as is her communicative devices: there is always a niggling feeling that sometimes contemporary artists use obscurity as a safeguard from being found out. Cynicism aside, Egan’s objects are formally inviting. Morandi-like loafs of plaster, neatly folded fabric and a steel rod armature form an unkept bed, or an unpacked slice of life from an attic that is perhaps best forgotten – moving house is always decorated by melancholia – Egan’s languid objects passively sink in it.




Milk Miners & Coal Maidens

Outside the System of Difference, The Joinery, Dublin

16th May – 27th May 2012



day wears

The Douglas Hyde Gallery, Dublin

1st June – 18th July 2012

Aleana Egan, no noise, no glass, no upholstery boxed her up from the extraordinary (2012) steel, bonding, plaster, varnish, paper, fabric, Douglas Hyde Gallery, Dublin

1st June – 18th July 2012; image by author.

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