Live From Dublin: Luck of the Irish

After two years of grant applications, coming close, but ultimately- no go, I decided to prepare my research trip to Dublin, Ireland using private funds. Who says luck falls in one’s lap? We Irish make our own luck! So I will be hopping the pond to the green isle in September and will conduct my research to study the iconography and techniques of medieval Celtic metalwork over the course of about three months.

The last year of my studies at the University of Georgia focused on learning traditional techniques and historical styles. This was reflected in my undergraduate thesis work, a collection entitled inVulnerable. This exhibit visually portrayed aspects of invulnerability using figures found throughout the world’s mythology and folklore. Five heroes were chosen, who’s stories best exemplified this universal need to protect one’s self. As told through their story, a protective piece of adornment for the one body part left vulnerable was created for each hero. Each piece reflected the historical style and metalsmithing techniques unique to each hero’s culture and time. A sixth piece was in response to my research and was an exploration of my own invulnerability.

While my proposed body of work for my research in Ireland will not be a direct extension of my thesis topic, it will still reside in the vein of exploring historical and narrative styles and traditional craft in a contemporary context. I find the Celtic style compelling for it’s focus on complex, intricate patterns—every surface encrusted in decorative and symbolic features—and each element of the composition adds to the narrative.

During my three month stay in Dublin, I will research the historical metalsmithing skills and iconography unique to Irish metalwork, particularly those developed during the Golden Age between the 6th and 9th centuries. Irish work focused on a range of techniques which included repoussé, fabrication, filigree, enameling, and casting. Repoussé is the ornamental shaping of metal sheet into low and high-relief shapes and patterns using hammers and small hand tools. Building on my knowledge of these processes, I will explore the traditional methods employed.

I’ll be working on a new body of work in a rented studio space and will have the great opportunity to work with some of the finest Irish metalsmiths. I will meet with Aidan Breen regularly in his studio to discuss his background, techniques, style, and influences, and hopefully receive some critique for my newly created pieces. I will also join Brian Clarke in his studio in County Wicklow, just south of Dublin, for a short time and participate in Celtic chasing and repoussé workshops. In between, I’ve been invited to visit several other artists in their studios and I look forward to the many conversations about their work and our craft in general.

Additionally, I will attend an Irish art history course offered by Trinity College as well as making regular visits to the many museums, but in particular, the National Museum of Ireland, which houses the Ardagh Chalice among other prized pieces. No, there will be no rest for the wicked! I intend for this to be a fun-filled and jam-packed trip.

Upon my return state-side, I plan to exhibit the work generated during my stay in Ireland at a variety of local venues and present a series of demonstrations and speeches discussing my research. I will also self-publish a book about the craft processes, contemporary Irish metalsmiths and the work I produced.

These techniques piqued my interest and passion early in my degree and I feel that they will feature prominently in my work through the rest of my career. I’m very excited at the opportunity to meet and work with these Irish artists. I’m looking forward to sharing this information and experience with friends, family, and my community of American metalsmiths. Please visit the Notebook again soon to read all about my adventures on the Emerald Isle.