I started my artistic career in Exeter college of art in the mid eighties firstly I commenced daytime classes to build up a portfolio at the Iron Bridge arts centre which enabled me to obtain a place on the foundation year in Exeter college .
I was a mature student having worked as a midwife and neurological nurse previousously,working alongside young post 18 year olds A level students was very enlightening and I still feel better with people younger than I.
I worked for weeks on drawings then paintings we were also able to access photography and sculpture facilities which was great it opened up a overall idea of a variety of disciplines ,I loved being with younger students afterall I was young too 25 years but had worked as a midwife and nurse so this was a big change .
My tutors Gill and Dan who left us draw away still life and life drawings for days and weeks on end a good grounding in drawing and observation a training in how to look really ;finally one drawing was selected to be posted up on the wall that had to be merited .I was one of three mature students the two others included Grenville Davey who later went on to win the Turner prize .
After my foundation Year I applied to brave the "savage North"as people down south put it"Sunderland "a mining town in those days of the 80, rows and rows of red brick terraced houses which met the grey skies of the sweeping winded north sea it was then I felt the wind chill factor and was never brave enough to enter the north sea .
Sunderland was setting up a new course in 3D design Hons glass /ceramics this course was headed by Gooran Warff designer in Costa Boda Sweden .The course got validated by our results proud to say ! we were well aware of being the guinea pigs as tutors came and went, always new ones appearing out of the blue one or two days a week ;we had a large selection of tutors Charlie Meeker , Mike Saul , Sarah Richardson , Catherine Hewlett , Jim Griffiths , Dillan Clerk ,Francis Bugg , Jack Dawson ,Mike Davis, and many more .It was good to be a guinea pig as so many tutors came with their ideas and experiences it was variable and often no clear path was laid down which I think I liked .I loved the idea that anything was possible especially with Gooran Warff he never saw an obstacle until one day I nearly burnt down the college !hot glass studio was a field to experiment and it was just that .
I still have that same idea of pushing boundaries today .I liked the range of really interesting visiting tutors as I can remember some names such as Andy Goldsworthy , many more .
When I qualified I set up my first studio in Newcastle upon tyne ,36 Lime stree Ouseburn warehouse workshops ,we were on of the first studio glass movement came to Britain .
Originally an American phenomenon, the Studio Glass movement spread quickly to Europe and the United Kingdom, Australia, and more recently, Asia. The studio movement differs from other 20th-century art glass movements in its emphasis on the artist as designer and maker, its focus on the making of one-of-a-kind objects, and its international character. It also is distinguished by the sharing of technical knowledge and ideas among artists and designers that, in industry, would not be possible.
photograph Joseph Caprio
Taking the boat glass sculpture pate de verre miniature/ 1996.
photograph/ joseph caprio 2015 studio
Taking the boat glass sculpture pate de verre miniature/ 1996.
photograph/ joseph caprio 2015 studio
MARY VEALE
"tAKING THE BOAT "
tHE BOAT BECAME FOR ME AN ANCHOR a symbol in my paintings sculpture and drawings allowing me TO EXAMINE VISUALLY WHAT being outside ONE'S culture means or feels.
to be ouTSIDE MY OWN HOMELAND IRELAND INITIALLY IN ENGLAND AND SUBSEQUENTLY IN FRANCE was fraught with displacement today many years later my identity is duel french irish but my SENSE of belonging to either culture is nomadic.
i LEFT IN 1977 SETTING SAIL FROM COBH TO WALES A JOURNEY FRAUGHT WITH BAD SEA CONDITIONS IN WINTER AND SUMMER WITH PEOPLE HERDED TOGETHER LIKE CATTLE WITH VOMIT ALL OVER THE FLOORS .i WAS A TRAINED IRISH NURSE AND WE WERE SOUGHT AFTER IN ENGLISH HOSPITALS, i trained as a midwife in wales .
return to study
I look today at the french news with boat fulls of immigrants continue to DESCEND upon Italy and France .
many lost at sea before they reach their eldorado be it france or england.The conditions on irish sailing boats in the seventies were LUXURY in comparison to today .
france My adoptive country since 1996. today unsafe boats over crowded,busloads of immigrants throughout french soil clearing the Jungle in Calais ,where conditions of extreme and INHUMANE nature exist for those seeking a new life ,its hard to believe its so in this beautiful country .
Much of my earlier works in paint were dealing with this issue of displacement being an outsider and fitting in !
learning a new language and culture .I have taken on french nationality and now a duel citizen ,What this means for me is now i have the right to vote in France as a resident french citizen with my national identity card , after being here since 1996.
Softness v Hardness /
This piece of sculpture is a cast cows tongue
I GREW UP ON A FARM I FEEL CLOSE TO THESE ANIMALS ;
SPEAKING IN FOREIGN TONGUES MAY SOMETIMES FEEL LIKE SPEAKING IN ANIMAL TONGUE S NOT BEING UNDERSTOOD kiln formed sculpture is extremely fragile just one piece of melted glass joins the two parts ,cushioned IN BETWEEN is a red tongue long soft and pliable :totally contrasting those dangerous edges of the molten glass .
A journey in glass |
MY JOURNEY IN GLASS :FROM KILKENNY IRELAND TO ENGLAND AND FINALLY FRANCE . |
Mutations /solo show grenoble france 2010.
Installation entitled" MUTATIONS"
paintings and research based on THE WORKINGS OF THE NEUROLOGICAL SYSTEM AND THE BRAIN ;
I COMPLETED A DIPLOMA NEUROLOGICAL NURSING AT THE NATIONAL HOSPITAL FOR NERVOUS training ;Queen square london .
Softness v Hardness.
this idea of contrasts continually runs through my works often sharpness against softness edges hard against soft dangerous edges can be metaphores for so many ideas .
This piece of sculpture is a cast cows tongue I GREW UP ON A FARM I FEEL CLOSE TO THESE ANIMALS ;SPEAKING IN FOREIGN TONGUES MAY SOMETIMES FEEL LIKE SPEAKING IN ANIMAL TONGUE S NOT BEING UNDERSTOOD kiln formed sculpture is extremely fragile just one piece of melted glass joins the two parts ,cushioned inbetween is a red tongue long soft and pliable :totally contrasting those dangerous edges of the molten glass .
Science and art .
m u t at i o n' s
CELLS ,NEURONAL PATHWAYS,studies of anatomy of the nervous system creativity the unconscious and art making .
m u t at i o n' s
CELLS ,NEURONAL PATHWAYS,studies of anatomy of the nervous system creativity the unconscious and art making .
glass books
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climate change sculptures in kiln formed glass
BIENNALE DE lYON :2013:2014
RESONNANCE PROGRAMME
lightglasstique glass light sculpture installation mary veale /blux wwwuncertaindetachment.com
EXPOSITION ;
BIENNALE DE LYON RESONNANCE PROGRAMME
Digging /uploads/1/6/6/4/16649184/digging.rtf
Installation of kiln formed glass sculptures with led lighting /
Glass fused books /folded glass sheets /these works were influenced by Seamus Heaney poetry /readings from poems and glass sculptures marking the occasion and paying homage to Seamus Heaney and his influence on my sculptures and works over many years.
Glass fused books /folded glass sheets /these works were influenced by Seamus Heaney poetry /readings from poems and glass sculptures marking the occasion and paying homage to Seamus Heaney and his influence on my sculptures and works over many years.
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FOLDED GLASS BOOK :LANDSCAPE IMAGES
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_ Biennale de lyon resonnance programme 2013:4
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2015/2016 WORKS IN FOLDING GLASS;
Cellular mutations /paintings acrylic 100X100 2010.
Borders :population movement : Brain drain all belong to Irelands sad history.
LANGUAGE LEARNING A NEW TONGUE WAYS TO BE UNDERSTOOD AND THE DAILY STRUGGLE WITH WORDS
THE TONGUE HAS APPEAREARS IN ALOT OF MY WORK OVER THE YEARS;
I am interested in associations of language and how we acquire a new tongue or language ,also how accents remain or disappear .Being misunderstood as a speaker in a foreign tongue is my daily experience ,being unable to express oneself is how we learn about ourselves and about tolerance of others .Often I find I use a very simple language to express myself in French my adoptive new tongue .Words get reduced down to basics ; silenced or never surf from beneath the vocal cords . I speak french with a strong irish accent even though I am here several years .I lived in England and am proud to say I never lost my Irish accent .Perhaps its a deliberate thing to hold onto something Irish even when speaking another language .
Semantics interest me very much as a visual artist what lies behind words is what I explore in paint and sculpture, the works themselves cannot ever be replaced by words .
I am interested in associations of language and how we acquire a new tongue or language ,also how accents remain or disappear .Being misunderstood as a speaker in a foreign tongue is my daily experience ,being unable to express oneself is how we learn about ourselves and about tolerance of others .Often I find I use a very simple language to express myself in French my adoptive new tongue .Words get reduced down to basics ; silenced or never surf from beneath the vocal cords . I speak french with a strong irish accent even though I am here several years .I lived in England and am proud to say I never lost my Irish accent .Perhaps its a deliberate thing to hold onto something Irish even when speaking another language .
Semantics interest me very much as a visual artist what lies behind words is what I explore in paint and sculpture, the works themselves cannot ever be replaced by words .
Edges and borders are always fragile in my works and very dangerous .The metaphor of edges and borders has also been my pre occupation ,glass being the perfect material to show a cutting edge or a smooth soft edge . BROKEN GLASS I like to reuse broken glass as it has already had another life.
material breaks easily I bring something new to it ,the beauty of the melting process allows many metaphors to be used and its rich vocabulary is very suitable to my interests in politics ,history and contemporary issues such as the environment and the politics of being a woman.
This glass sheet is made from shards of broken recycled light bulbs they are transformed by heat into beautiful dangerous objects .
material breaks easily I bring something new to it ,the beauty of the melting process allows many metaphors to be used and its rich vocabulary is very suitable to my interests in politics ,history and contemporary issues such as the environment and the politics of being a woman.
This glass sheet is made from shards of broken recycled light bulbs they are transformed by heat into beautiful dangerous objects .
: HOLDING BACK THE YEARS /SIMPLY RED SINGER SONGWRITER UK
Folding glass a curious occupation but as I have been making several glass books over the years this idea is a continuation of work these folded glass pages are transformed in the heat of a kiln at a very high temperature .The act of folding is based on gravity and weight each page is calculated by its inclination and distance in measurements however the fall and fold is part of the glass heating up and chance also being an important element .This idea of calculation and chance is found a lot in the creative process which I use its almost leading into the mystical are of being out of control ,and allowing the unconscious intuitive play a part as these glass pages are worked on either prior to kiln working or after wards with light or often refired all the glass used is recycled luckily for people break thick windows in Grenoble !I like to repair the damage !.
SWALLOW YOUR WORDS
cast GLASS MASK
this is a glass sculpture made inside a mould and allowing an opening to form a lineof glass which turns towards the throat ;Swallow your words is an expression we use when often the wrong word is pronounced or just talking off the top of your head as we often wish we never said some things /speaking without thinking .
Softness v Hardness /
This piece of sculpture is a cast cows tongue
I GREW UP ON A FARM I FEEL CLOSE TO THESE ANIMALS ;SPEAKING IN FOREIGN TONGUES MAY SOMETIMES FEEL LIKE SPEAKING IN ANIMAL TONGUE S NOT BEING UNDERSTOOD
kiln formed sculpture is extremely fragile just one piece of melted glass joins the two parts ,cushioned inbetween is a red tongue long soft and pliable :totally contrasting those dangerous edges of the molten glass .
Always a question of balance 2013
The balance of things ;
mainly these fragile sculptures are extremely fragile set upon a solide glass base however its always the balance of things that matter understanding how and what life is about is an infinite question of balance and fragileness belief systems are often based on very fragile and nebulous structures which cannot be overuled too easily .
Always a question of balance ,equilibrium ,light ,lightness,solidity,hardness,brittleness,all these qualities of glass I use as my vocabulary in making sculptures in glass .2013Biennale de Lyon Resonnance programme.
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ART and SCIENCE
My personal research into the brain and neuro transmission /memory and loss 2010
final show MUTATIONS :SHOW INCLUDING PAINTINGS :DRAWINGS AND GLASS WOrks.
My personal research into the brain and neuro transmission /memory and loss 2010
final show MUTATIONS :SHOW INCLUDING PAINTINGS :DRAWINGS AND GLASS WOrks.
A question of balance :weight :fragility cast glass with very fragile sheeted glass created from reused neon tubes 2013. on show
CLIMATE CHANGE
FloW AND GRAVITY :thick glass sheets painted with acrylic collaged with a very fragile glass sheet made from recycled glass bulbs.
flow:gravity
large glass solide and thick painted ,allowing gravity to pull and push the painting ,
inbetween is a very fragile glass sheet held in balance by the solide glass painted sheets .Title Gravity and support 2013.
inbetween is a very fragile glass sheet held in balance by the solide glass painted sheets .Title Gravity and support 2013.
Ice sculpture on an Icelandic beach 2010
Post volcanic dust solidifies and forms the landscape in southern Iceland 2010
As we sit and watch our lives are witnesses to climatic changes unprecedented /2010 ICELAND
Climate change is a reality !
Climate change is a reality !
the mismatch theory http://wwwguardian.com climate change /uploads/1/6/6/4/16649184/climate_change_mismatch_article_guardian.rtf
THE CLOUDS OF VOLCANIC DUST THAT STOPPED WORLD AIRFLIGHTS IN 2010 PHOTO TAKEN IN ICELAND DURING MAY AT THE HIGHT OF THE VOLCANIC ERUPTION ;
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VOLCANIC DUST SETTLED OVER MILLIONS OF YEARS BECOMES SOLIDIFIED AND FORMS THE LANDSCAPE IN SOUTHERN iCELAND 2010
Silence
under a volcanic dust cloud iceland 2010
Borders /movement :transparancy .This work IS A RESULT OF MY OWN EXPERIENCE LIVING AS AN IRISH EMIGRANT OUTSIDE IRELAND,
often we as Irish immigrants are forgoton by our homeland we decided to leave hence we should keep up the contact with the homeland and famalies we are always living on the border of being neither irish in Ireland or a native french person despite dual nationality although we are all native to where we come from no matter where in the world we live .Home becomes almost transient place with no foundations really but the roots are still set these are some of the metaphors which I use in my works .
LARGE GLASS COLLAGE OF CAST TONGUES IN GLASS:
fRAME IN TIMBER WAX AND IRISH PASSPORT ;
TITLE / BORDERS ARE ALWAYS DANGEROUS 200X250CMS 2019
MUTATIONS /SOLO SHOW 2010.
FOLDING GLASS A CURIOUS PREOCCUPATION BUT FOLDING GLASS INTERESTS ME AS TO MAKE A FOLD IN SUCH A MATERIAL IS TO OPEN UP SO MANY POSSIBILITIES THE INNERSIDE IS EXPOSED TO THE OUTSIDE AND VICE VERSA TRANSPARANCY IS ALL THROUGH THE MATERIAL FOLDED ALLOWING A INNER QUALITY AND OUTER ONE SIMPLY WANTS TO REORGANIZE THIS SPACE INSIDE WHICH IS VERY PROTECTIVE AND AT THE SAME TIME OPEN TO MANY EPERIMENTATIONS ;