Slips and Wishes

Slips and Wishes

This work grapples borders of orientation, place and surface. Moving through a series of landscapes: a pond and window in Montreal, a river in Co.Cork and the coastline of Co.Dublin, a watery reaching is presented, alongside a personal travelogue of movement.
This work stems from researching St.James Well, Co.Sligo in the Duchas Schools Collection, a collection of folklore compiled by schoolchildren in Ireland in the 1930s. This healing well is in the rural townland of Geevagh, near to where my grandmother was born. Geevagh, meaning “the windy”, references a climatic feature of the area. This location has always been a focal site in my knowledge of my history. Slips and Wishes is an attempt to conjure and enter this ancestral space by circling and orientating other watery, windy and climate-shifting landscapes.

Slips and Wishes, moving image with sound and embedded documents and watercolours, 07:26, 2023.

Filmed in Quebec, Canada, Cork and Dublin, Ireland.

Narrated by the artist and Alexandra Sirard.



Producer and participating artist in a year long collaborative project and exhibition held at Pallas Projects, Dublin during April 2022.


Exhibition text, April 2022, Pallas Projects, Dublin

by Ellen O’Connor

“Deliverables is a remote collaborative exhibition project by Alex Keatinge, Bronagh Gallagher, Dáire McEvoy, Ellen O’Connor, Lorcan McGeough and Olivia Normile. Our exhibition is, among other things, the story of a postal package, an experiment in communal art making, and the celebration of a collaborative structure built over the course of one year, spanning across the Atlantic ocean

In April of  2021, six early career artists initiated a remote collaborative exhibition project.
Our physical locations are varied; Ellen is in Montreal, Bronagh in Donegal, Lorcan in Wexford, Alex in Kildare and Dáire and Olivia are in Dublin. The project evolved through weekly virtual studio sessions on various platforms; email, discord, zoom, google drive, and experiments on mock exhibition websites. We discussed what it means to produce a collaborative exhibition, ideas of remoteness and exchange, physical versus virtual collaboration and the sticky combination of formality and creativity within group work.

We decided to make physical our virtual back and forth – and started a postal exchange. On the 10th of May an order was decided. The first artist sent a ‘whisper’ of their practice to the second artist, who responded to the work, adding and expanding to the contents, and then sent it on to the third artist, and so on. After 131 days, the package ended its travels with its return to the first artist, who unboxed it via a live stream with the entire group.

This exhibition houses 6 works, one from each artist, developed collaboratively through virtual workshops, after our package completed its journey. These new works bring forward various ideas that emerged in our postal collaboration, reflective of our conversations surrounding its outward existence. Collaborative work acquisition is examined, texture is given to our timeline and communicative tensions and questions of ownership and emotive response are connected. Virtual, real world and imagined aural landscapes are entwined and the layers of our material process are celebrated. Response and exchange form the crux of our project, the fruitful to-ing and fro-ing of our shared words, sounds and shapes.

Walter Benjamin’s 1931 essay Unpacking My Library: A Talk about Book Collecting where he describes unboxing his collection of books in a single day, seems to ring true in relation to our project. Benjamin explains that a library is not just a collection of books (any more than an exhibition is just a collection of art works)—but that the sense of order is “a balancing act of extreme precariousness” that reveals itself as “a dialectical tension between the poles of order and disorder.” Benjamin then goes on to narrate aspects of this tension—names, places, memories, stories. A book is always for Benjamin more than a book; even its acquisition, as much as it’s writing, has a history.

Deliverables aims to reveal some of the complexities of the ways our collaborative exhibition came into being. How its acquisition can be reflected in new works that respond to both the contents of our postal package, and what its existence itself has unearthed. The work we have made is unique to each of us, but importantly ingrained in the work of each other and in the story of the process we have structured around us.”



This work is a manipulation of movement of artificial kinetic light within a spacial illusion. It focuses on the passing of light through metal, and the reactions of light within enclosed space. The artwork was created over a bench in the Irish Museum Of Modern Art and displayed in the museum in May 2015, in a group exhibition of site specific work, from a group of first year students from IADT. It was displayed in a dark room in the gallery, projected upon the wall, the scale of the projection aiding the spacial disillusioning. A previously unremarkable space, a looping vision of light and movement.

Lightbox, HD video with sound, 1:08, looped, 2015.

Screened at IADT Exhibition, IMMA, May 2015.

Light Machine

Light Machine

This video work was made in response to light and movement in the painting ‘Lady Writing a Letter with her Maid’, by Johannes Vermeer, 1671.

Light Machine, HD Video, 00:23, looped, 2014.

Screened at ‘Light + Colour: Responses to the National Collection, IADT Exhibition, The National Gallery of Ireland, November 2014.



Meshwork is a moving image response to the connective structures built by Deliverables over a one year period. It reaches to articulate and archive the project’s acquisition, by tuning it to the frozen Quebec landscape, where the artist is situated. Meshwork focuses on witnessing the ice fishers of Brome Lake, Quebec. Brome Lake is a stage for a gathering of remote processes, over timelines and layers, housing a non linear exploration of the Deliverables story. The film draws from a text by social anthropologist Tim Ingold, titled ‘The life of Lines’, a narrative that interlaces bodies, minds, landscapes, topographies, and perceptions in a correspondence of lines.

“Deliverables is a remote collaborative exhibition project by Alex Keatinge, Bronagh Gallagher, Dáire McEvoy, Ellen O’Connor, Lorcan McGeough and Olivia Normile. Our exhibition is, among other things, the story of a postal package, an experiment in communal art making, and the celebration of a collaborative structure built over the course of one year, spanning across the Atlantic ocean.”

Meshwork, HD video with sound, 08:24, 2022.

Filmed in Quebec, Canada.

Narrator – Isabel Fuentes.

Screened at Deliverables, Pallas Projects, Dublin, April 2022.



The title, Lethe, derives from Greek mythology; the river Lethe flowed around the Cave of Hypnos and through the underworld, where all those who drank from it experienced complete forgetfulness.

This film displaces memory into water and ice, examining water as a refracted channel of memory and feeling, and how water itself is conveyed digitally. It is a dialogue between two places, Vancouver and Dublin, following an unidentified dweller of a watery space, who has been transported to an instability of thought and vision.

Landscapes of ice and dust, flowing water, sounds of murmured drowsy forgetting and wind singing through an old house.

This work has been included in the collection Displacements, alongside moving image works by 7 other Irish artists, curated by Richard Ashrowan for the Irish Artists’ Film Index 2020 annual screening. It was also screened at the Musée Nomade ConnectArt exhibition ‘L’Ouroboros’, at the Maison Symphonique, Montreal in October 2021 alongside three ‘Lethe’ cyanotype prints.

Lethe, HD video with sound, 07:17, 2020

Filmed in Vancouver, Canada and Dublin, Ireland

Narrator – Amanda Jane Porter

A Lidless Eye

A Lidless Eye

This work is investigating the murky links between blindness, sight and language, drawing from a novel titled The Parable of The Blind by Gert Hofmann, a novelist and radio playwright.

The writer gives a narrative fiction to a painting of the same name by Pieter Bruegel from 1858.  This work is based around certain aspects of the story and of the painting. Without visuals to orient the novel, absence becomes the principle subject. The story displaces truth of verifability, and this has been the basis of the script, which hinges on the relationship between truth, sight and language.

A Lidless Eye, HD Video with sound, 04:49, 2018.

Performed by Rebecca Locke and Garreth Tuite

Screened at IADT Graduate Exhibition, Dublin, 2018

Filmed in Dublin, Irelan



Sight is focused on examining blind spots and narration.

This experimentation with the voice has been influenced by a text by Edward Miller, ‘Emergency Broadcasting and 1930’s American Radio’ where Miller discusses the power of radio voices to provide a certain embodiment, by transcending the body and simply existing as sound. This work highlights the source of sound to be found in a place that is apart from the camera, thus inaccessible and invisible to the gaze of both the actors and the viewers.

Sight, HD video with sound, 3:51, 2018.

Filmed in Dublin, Ireland.

Performed by Garreth Tuite.


Built by Silkworms | Neri Oxman’s “Silk Pavilion II” | ARTIST STORIES

I edited this interview for MoMA, New York, where artist Neri Oxman and Paola Antonelli, senior curator in MoMA’s Department of Architecture and Design, guide the installation of “Silk Pavilion II” in the galleries at The Museum of Modern Art as part of the exhibition “Neri Oxman—Material Ecology.”

May 2020

May 2020