Exhibition Opening
Thursday 10th July 2025
7pm – 10pm
INFO
Join us from 7pm in our garden for the opening of The Cosmos, The Earth & Us!!
Exhibition Viewing
As the exhibition is designed as a large installation the number of people in the gallery will be limited to 10-15 people at a time.
Garden Drinks Reception
Before and after viewing the exhibition you can enjoy our drinks receiption and music in our garden.
There is lots of space for sitting and chatting!
We have lots of seating and some covered areas in case of rain.
An accessible toilet is available in our garden area.
BOOK YOUR TICKET
Due to the nature of the installtion there will be a limited capacity for the opening.
Please book your here!
If you have any access needs you can let us know when booking.
CONTACT
If you have any questions or access needs please get in touch via the email below.
Email: indigo@a4sounds.org
Exhibition Duration
16th July – 22nd Aug 2025
OPENING TIMES
General Opening Times
Mon & Tue: Closed
Wed – Fri: 1pm – 7pm
Sat: 1pm – 6pm
Sun: 1pm – 5pm
First Weekend 10th – 13th July
Thu 10th: 7pm – 10pm
Fri 11th: Closed
Sat 12th: Closed
Sun 13th: Closed
BOOK YOUR VISIT
The exhibition is an immersive large scale installation. It is designed to be experienced as a longer visit to fully engage with the artworks as a collection of ideas and perspectives. Video and audio pieces are curated together so each peice fills the room with sound.
We suggest booking in for a longer visit here to allow youself enough time to see it all!
You can also drop in at anytime too!
CONTACT
If you have any questions or access needs please get in touch via the email below.
Email: indigo@a4sounds.org
MIXTAPE
Release Date:
Listen Here:
INFO
Info coming soon!
THE ARTISTS
Artovich
ARTWORK
A murmur of
2025
Audio, 30 mins
A murmur of is a situated sound-poem based on field recordings and encounters with locals made in parallel to conducting radiation surveying between Askeaton and Foynes in Co. Limerick. In this iteration, A murmur of focuses on the lack of transparency and communication on the side of the Irish State, contrasted with local knowledge. In place of answers, it considers a contemporary landscape defined by industrialisation and a loss of identity.
BIO
Artovich is a multimedia artist and researcher focusing on the intersection of digital media, diy cultures, environmentalism, global infrastructures and social history. Currently they work primarily in poetry and music, and are conducting research on the legacies of resource waste. They hope you have a nice day.
CONTACT
Email: polaogha@tcd.ie
Aideen Farrell
ARTWORK
A Rock, A Route & Me
2025
Sculpture
BIO
Aideen Farrell is a Dublin-based artist. She works with found materials, clay, drawing, and photography. Aideen gathers materials and detritus while following routes of canals and disused railways. She focuses on these sites’ relations to ideas of ruin, extraction, and transformation.
Aideen completed her BA in Fine Art at NCAD in 2017 and MA from TU Dublin in 2024. She is a member of A4 Sounds artist studios in Dublin. Her exhibitions include solo shows; Brittle to Look Back at Custom House Gallery (2023), A Weight of Windows at Pallas Projects/Studios (2019) and Showroom Linenhall Arts Centre (2018), and recent group shows; Waystation at the Complex (2024), Gaffer Tape in Phibsborough Tower (2023), The Stars are in the Earth at A4 Sounds (2022). She was awarded the Fingal County Council Artist Support Scheme (2018-2022), the Arts Council’s Agility Award (2021), the Visual Arts Bursary (2021, 2023), and the Fire Station Artists’ Studios (FSAS) Sculpture Award in 2021 and the FSAS residential award for 2025.
CONTACT
Email: aideenfarrell9@gmail.com
Alannah Bates
ARTWORK
Unearthed
2025
Moving-Image, 4 min
Unearthed is a moving-image artwork by Alannah Bates. It traces Ireland’s folkloric traditions by reconstructing sacred sites and ritual objects in virtual reality. Made by piecing together archival materials and research, the piece takes the form of a non-linear moving-image artwork which combines VR environments, CGI, 3D modelling, poetry and speculative fiction.
The work is a rumination on Irish ‘shrines’ – sacred sites and ritual objects created to ward off bad fortune, bad spirits and poor health. The work traces the spatial dimensions, spiritual significance, and cultural attachments to these spaces, which include a fairy tree, a holy well, and a neolithic stone circle. These spaces are synthetically replicated and hybridised to compose the hypothetical VR landscapes which become the core of the work. Throughout the work, the concept of ‘loss’ obsessively examines itself, as the narration attempts to cling to people, places and narratives with equal futility.
BIO
Alannah Bates (she/her) is a Belfast-based visual artist exploring landscape, ritual and materiality through sculptural installation and moving-image artworks. Lately, her work has manifested as large-scale digital/ sculptural installations which compose haptic and hypothetical landscapes. These landscapes, which serve as ritualistic shrines, are inspired by Irish pagan folklore. These spaces are shrines not only to the physical landscape of Ireland, but the metaphysical underworld which Irish folklore asserts is on top of us, all around us, over and under us.
Alannah is a current resident at Digital Arts Studios, Belfast and an MFA Fine Art Graduate from the Belfast School of Art. Recent exhibitions include ‘pact.xiv’ at Arts For All, Belfast (2024) and ‘Cohere’ at Queens Street Studios, Belfast.
CONTACT
Email: alannahbates77@gmail.com
Carlos Valdez-Kehoe
ARTWORK
A small plastic snake and a big toy frog
2025
Video, 8 min
BIO
Carlos Valdez-Kehoe is a multidisciplinary artist from Mexico, currently based in Dublin, Ireland. He holds a degree in Visual Arts from the National Autonomous University of Mexico (UNAM), where he was part of the interdisciplinary program ‘La Colmena’ (2017–2019). In 2019, he received the UNAM Student Mobility Grant to study Intermedia at the University of Cologne’s Institut für Kunst und Kunsttheorie under the tutelage of Rainer Barzen and Nadine Oberste-Hetbleck.
Drawing influence from anthropology and ethnography, his work explores the intersections between archive, tradition, and the erasure of cultural identity. Deeply rooted in his family’s migration history and his own migratory experience, he frequently revisits topics such as mother tongue, cultural assimilation, and systemic violence. Materially, he is currently exploring food as both a cultural artifact and a tool that reveals the power structures underlying post-colonial societies. Reflecting the immersive nature of the research process, his projects often involve ambitious, long-term investigations, resulting in large-scale installations, performances, and —more recently— social gatherings.
Carlos’s projects have been presented internationally in countries such as Mexico, Germany, the Netherlands, Ireland, and Iceland. Notable venues include the University Museum of Contemporary Art (MUAC, Mexico City), the Institut für Kunst und Kunsttheorie (Cologne), and independent spaces across Europe. His work continues to evolve across borders and disciplines, grounded in research, collaboration, and a deep commitment to reimagining cultural continuity in migratory contexts.
CONTACT
Email: carlosvaldezkehoe@gmail.com
Con: temporary Quarters
ARTWORK
P⁊T
2025
Sculptural Assemblage
Tools without purpose; anachronistic objects awaiting commands from an absent species. Flint shards suggest digging, defence, or divine ritual. Their glossy polymer counterparts shimmer in faux jade and quartz, arranged like votives or evidence.
A large slate slab bears the P⁊T emblem, a bureaucratic rune from an era when messages travelled by wire and the land beneath our feet had yet to be branded, and sold. Quartz, once ritualistic and rare, now only acts to coat the skin in microplastics.
In this work the Earth’s materials are mimicked but hollowed of meaning. These objects do not explain themselves. They are souvenirs from a civilisation uncertain whether it is ascending or being asset-stripped. History loops in soft curves and synthetic minerals; extraction dressed as evolution, mythology crafted from microplastics. A toolkit for an unknowable task, reflecting a shift from extraction as necessity to extraction as excess: where stone once held function and ritual, now its facsimile is mass-produced, disposable, pollutive.
BIO
Con: temporary Quarters is a multidisciplinary artist duo of Eve Woods and Aoife Ward. They utilise artistic research, satire and absurdity as a tool for criticism with a focus on the misuse of public space through performative actions, sculptural interventions and print media.
Select actions include; Sluice Radio Infrastructural Futures: A BROADCAST BY THE SLUICE STATE EMERGENCY MANAGEMENT AGENCY; Ranelagh Arts Festival, Liquid Urbanisms at The Lab, An Couch Pleanala in The Irish Times, WAKE with Arthology Collective; 2025. DABF: 𝙁𝙞𝙘𝙩𝙞𝙤𝙣𝙨: 𝙏𝙝𝙚 𝙢𝙖𝙠𝙞𝙣𝙜𝙨 𝙤𝙛 𝙤𝙩𝙝𝙚𝙧 𝙬𝙤𝙧𝙡𝙙𝙨; NIVAL Art & Property; Space Now with Outlandish Theatre, The Perennial Affair: An Exploration Between Art and Politics, TCD, 2024; Create Summer School for COLLABORATIVE PRACTICE & SOCIAL CHANGE; Des Kelly MOMA, That Social Centre; DABF Polyphonic; CtQ The Exhibition, at the demolished Tivoli Theatre; Who is this city built for? Culture Night; Banned as an Ti @ FanVid Dublin; Open House, Derelict site on N. Brunswick St; Softening Corners, Creative Futures Academy; A Culture of Care for The Liberties; RENT, Housing Unlocked Irish Architecture Foundation; Reboot Republic; Generation Locked Out of Home with Rory Hearne; City of Care Roundtable 2023; A Cultural Tour of Hotels in the Liberties; How to Exist in a Public Space 2022.
CONTACT
Email: aoifeandeve@gmail.com
Conor O’Brien
ARTWORK
Annunciation I
2025
Acrylic on canvas, 90x120cm
In depictions of the Annunciation, the angel Gabriel appears to Mary in a form resembling that of a beautiful human man to be a welcome, comforting messenger. Here the artist relates this divine herald to an encounter with an alien other; a common theme found in horror and science fiction. Depictions of alien life reflect our human fears, a way to confront parts of ourselves we are uncomfortable with and wish to externalise & abject. Abjection as termed by Julie Kristeva in her book Powers of Horror refers to that which does not “respect borders, positions, rules,” instead “disturbs identity, system, order.” The work looks to utilise this concept of Abjection as a liberatory field for Trans & Genderqueer people to explore ways of being that challenges preconceived truths. The bodies, referred to as Visitors, that appear in the paintings are fluid, porous & permeable. These Visitors draw on marine life & fungi for inspiration. Life native to earth but strange to our human experience, still they are closer to us than we may realise or want to admit.
With a society on the precipice of collapse, the angelic host descends to reveal truths that some might not be prepared to accept. Given the opportunity to evolve and grow or face obliteration, we will be forced to disregard preconceived truths & adapt. This advent of change may be embraced with open arms or perceived as the destruction of society and the collapse of so-called “natural law.” Whether this change is welcomed or feared is a personal issue requiring self-reflection, but change is inevitable.
BIO
Conor graduated in 2023 from MTU Crawford College of Art & Design with a BA (Honours) in Fine Art with first-class honours, was longlisted for the RDS Visual Art Awards, and received several awards and opportunities based on the work in their graduate show. Recent Exhibition include: Graduate Group Exhibition, Lavit Gallery, Momentum, James Barry Exhibition Centre, Body Of, LHQ Gallery, GOMA Members Exhibition, GOMA, MART Awards Show, MART Gallery, Queer Ecology, Laneway Gallery, Winter Salon & Members Exhibition, Backwater Artists Studios.
Conor received an Agility Award from the Arts Council in 2024. They are a member of the Backwater Artists Network, currently working from their studio at Sample Studios on their first solo exhibition at the Triskel Arts Centres ‘Triskel Sample Project Space’ in December of 2025.
CONTACT
Email: artconorobrien@gmail.com
Daniel Murray
ARTWORK
Circle Movie / Falling Backwards
2024
Video
A supercut flight through virtual worlds and the dreams of a video game character called Ozwomp. The audio is a synth version of the Clancy Brothers playing Wild Mountain Thyme in two directions at varying speeds, both harmonizing and conflicting with itself.
BIO
Daniel Murray is an Irish net-artist best known for his sprawling pan-media web projects such as melonking.net. His work encompasses code, digital art, net art, video, storytelling, music, virtual worlds and tool making; with a broader emphasis on themes of spacial belonging, nostalgia, myths and dreams.
CONTACT
Email: daniel@nonit.me
Diego Bianchi
ARTWORK
The Symbiotic Universe: Fungal Connections Beyond Earth.
2025
Video
This installation intimately explores the world of filamentous fungi (commonly known as moulds) that live inside plants as silent companions, from roots to seeds. The Symbiotic Universe is a manifesto of biodiversity, a celebration of the invisible life on Earth and the experience of the microbiologist’s personal journey in isolating these wild specimens, one Petri dish at a time. This video is one of the immersive installations from the project Fungal Galaxies, which aims at recalling our attention on Fungi and on the way we relate to them. These organisms are ancient partners in our shared story, and we cannot imagine a future without them. This series of installations offer a rare opportunity to pause and reconsider our perception and engagement with fungal life. It invites us to see beyond the surface, becoming a quiet act of collective reinterpretation, an opportunity to connect with a world both alien and familiar. This is a visual reminder that beauty, meaning, and potential often reside in places we least expect. Spread the spores.
BIO
Diego Dylan Bianchi (DDB) is a research scientist and visual artist with a passion for the hidden world of filamentous fungi, commonly known as moulds. With a background in Agricultural Sciences and Biotechnology, his work bridges the scientific and the artistic, offering new perspectives on one extraordinary world of microbial expression.
DDB is currently based in the Molecular Lab of the Botany Department at Trinity College Dublin, where he began his PhD in January 2021. His research focuses on the use of beneficial plant-associated moulds to support plant growth and reduce the reliance on harmful pesticides in agriculture. His artistic practice began naturally during his time in the lab. As he kept discovering more fungal isolates, he felt drawn to document them and share his visual experience with the public. What started as a side project turned into a pioneering work of fine-art fungal macrophotography that launched online in February 2025 under the name Fungal Galaxies (ongoing project).
CONTACT
Email: dbianchi@tcd.ie
Emma Price
ARTWORK
Carolines Lagoon
2024
Video game modding/captured image
BIO
Emma Price is visual artist based in Cork, Ireland. Her multidisciplinary practice encompasses video games, mixed media, digital collage and photography. Emma’s work is rooted in a lifelong imagination of alternate realities. She constructs visual narratives that challenge perceptions of time, space, and identity. Key aspects of her practice include: World-Building, Crafting intricate settings that invite viewers to question the boundaries between the known and the unknown. Emma uses video games as a tool to expand the dialogue around speculative art and out of bounds worlds. She is interested in how video games reflect our own world and their capacity to reframe our understanding of reality. She aims to deepen her exploration of immersive scenes and visions—blurring the line between observer and participant. Her goal is to create artistic experiences that invite audiences to step beyond the everyday and glimpse the infinite possibilities that lie just beyond our perception.
Emma studied at Munster Technologic University graduating with a Bachelors in Arts. She has exhibited in Ireland and Italy and her work has featured in publications. She has worked at the National Art Gallery Cork, Crawford Art Gallery.
CONTACT
Email: emmaprice599@yahoo.co.uk
Finn Nichol
ARTWORK
Dutch Giant
2025
Performance to video, 10 min loop
Dutch Giant is a performance to video shot in the Giants Ring henge monument, Belfast.
Filmed on Easter, the circular path draws from Catholic pilgrimage rituals (such as circumnavigating the cross on Croagh Patrick) alongside the site’s 18th-century history of horse racing.
The characters’ colors gesture to protestant histories in Ireland, though the bronze age dolmen predates notions of Irishness or Britishness. By layering these historical and cultural references, Dutch Giant examines the compression of time and the evolving narratives we attach to land, inviting viewers to consider identity and belonging on a scale that exceeds human memory.
BIO
Finn Nichol is an Offaly-based artist whose practice spans sound, installation, performance, and video. He won the RDS Taylor Art Prize for his Sculpture & Combined Media degree at LSAD (2021), and the Catalyst Graduate Award for his MFA at Belfast School of Art (2024). His work has been shown across Ireland as well as at festivals and exhibitions in Venice, Athens, Tokyo, and Barcelona.
In recent work, Finn embodies spirits of neoliberal Ireland, performing strange, solitary rituals that link mythological transformation to the country’s shifting relationship with capitalism and colonialism.
CONTACT
Email: finichol@gmail.com
Keely Mclavin
ARTWORK
Material Knowledge: An Embodied Archive
2025
Documentatry Film, 11 min
Material Knowledge: An Embodied Archive explores personal and collective memory through intergenerational craft practices, focusing on the transmission of textile skills within the McLavin family. Archival materials, such as transcripts, photographs, and video, document the techniques and stories passed down informally over generations. These materials are preserved and presented in accessible and respectful formats, inviting engagement through touch and interaction.
This family archive forms one part of a larger project that documents community-based knowledge and skill-sharing. The work highlights the cultural and communal value of haptic learning, positioning slow, skill-based practices as acts of care and resistance in the face of rapid, unsustainable systems. Through interviews, oral histories, and visual documentation, the project reanimates fading traditions, emphasising the vital links between memory, materiality, and sustainability.
BIO
Keely McLavin (she/her) is an Irish multidisciplinary visual artist. Her practice explores the intersection of womanhood, language, collective memory, and community knowledge. Working through research-based and materially engaging processes, she investigates how personal and cultural histories are shaped, preserved, and transmitted, particularly within patriarchal and colonial frameworks.
Keely creates poetic-political gestures that challenge dominant narratives and foreground empathetic forms of resistance. Her recent work engages deeply with archives and intergenerational skill-sharing, using traditional craft, especially textile practices, as a lens to explore embodied knowledge and non-discursive forms of learning.
Her practice is grounded in research and expressed through varied materials and methodologies. Through this, she examines how stories, skills, and knowledge endure, inviting reflection on care, memory, and social transformation.
CONTACT
Email: keelyxmclavin@gmail.com
Lisa Crowne
ARTWORK
I forgot anteaters exist
2025
Digital Sign
BIO
Lisa Crowne is a visual artist and curator. Her current research is focused on the scientific, social, and political history of the periodic table. Most recently she has focused on Phosphorus, it’s necessity for our food systems, it’s connection to colonialism both in Ireland and globally, climate change, workers rights, and its recent discovery off earth for the first time on Saturn’s moon.
Taking starting points from different elements she aims to map the histories that have shaped the world we live in today and produce artworks, exhibitions, and events that critique, challenge and facilitate a conversation about where we might go next.
CONTACT
Email: wowte@a4sounds.org
WEBSITE
Manuel McCarthy Valderrama
ARTWORK
Our Emotional Support Toaster
2023
Interactive Sculpture, 85x45x45cm
Our emotional support toaster is an interactive sculpture that reflects on the different relationships that form between objects and humans through daily use and interaction. The work explores household, everyday objects as a possible (perhaps unexpected, uncommon, or even queer) source of nurture and care.
The sculpture, built as a stuffed toy, is meant to be hugged, to be used as a pillow, or to be loved to find companionship. Through a sensorial experience, the toaster that usually nurtures you with food, will now provide comfort, affection, care, or simply a tender ‘body’ where to lay or rest. It provides the opportunity to take a nap in a gallery space.
BIO
Manuel is an Irish-Spanish artist and facilitator aiming to make art accessible by using a community-responsive approach. They develop interactive work through textile sculpture, performance, photography and video. His work imagines different ways of being, existing and relating in an inter-connected world between humans and their surrounding objects.
Manuel has exhibited internationally in Germany and Spain, and in Ireland at NGI, IMMA and The Complex among others. Their published works have been issued by the Douglas Hyde Gallery and ¬Accesos research journal, featured in Dublin Art Book Fair and included in CSIA’s and NIVAL’s collections.
Manuel is a tour guide and facilitator at Dublin Castle, Rua Red and the National Gallery of Ireland. They are a representative of the NGI Youth Panel, member of 126 Gallery, A4 Sounds and Catalyst Arts. Previously they have been a member of the Douglas Hyde Student Forum and theatre producer for amateur theatre groups.
CONTACT
Email: manal.mahamid.art@gmail.com
Marco Castelli
ARTWORK
A Micro Odyssey
2016
Photographic prints
Most photographs of microbes and bacteria have a scientific nature, adapted to emphasize the unique geometries that these are able to form. A Micro Odyssey, however, does not intend to show what is hardly visible to the naked eye, but to use the natural shapes of bacterial colonies to reverse all the logic of micro and macro. The capturing of seemingly small human interactions creates theatrical stages for personal and collective stories. By taking traces of common daily occurrences such as a bus trip, meeting a stranger or petting a dog, the work ironically seeks to suspend these moments in time and load the cosmos with meaningful symbolic values.
BIO
Marco Castelli (b. 1991) lives and works in Bologna, Italy. Both his personal and documentary research are rooted in a deep interest in human life , the environment, and a search for different approaches to communication and storytelling in artmaking. His works have been awarded, published and exhibited internationally.
CONTACT
Email: castelli.marco@hotmail.it
Mohamed Sleiman Labat
ARTWORK
DESERT PHOSfate
2023
5 Chapter Film, 58 min
DESERT PHOSfate is an experimental film by Sahrawi artist Mohamed Sleiman Labat. It weaves the story of phosphate using multi-layered narrations to explore connections between land, sand particles, human, and mineral displacement. The film explores the realities, metaphors, and poetics of the desert highlighting connections between ecological justice, colonial practices, environmental violence, anthropocentric mineral extraction, and the loss of indigenous ways of knowing and speaking about the world.
Mohamed uses the Sahrawi poetic and nonlinear style of storytelling to decolonise and narrate the story. The seemingly inconsistent chapters resemble sandstorm rhythms; building and collapsing, roaring loudly, winding down to a deathly silence, then repeating. Through this approach he connects mineral extractions in local areas of the Western Sahara to global agriculture industries that are shaped by a heavy reliance on phosphate. This reliance puts extreme pressure on the lands where this mineral is located and the communities living there. The dislocation of the Saharawi people from Western Sahara to the refugee camps in Algeria is largely due to the phosphate extraction operations. In contrast, the Saharawi people are responding to the political and environmental challenges by developing new farming practices in the Hamada desert that do not rely on processed phosphorus input or impact and change the desert landscape.
BIO
Mohamed Sleiman is a Sahrawi multidisciplinary artist, filmmaker and writer. Born and raised in the Sahrawi refugee camps in Tindouf, southwest Algeria, he runs Motif Art Studio, a small art space built entirely from discarded materials. His art draws from the past and present life of the Sahrawi people and the multilayered social, political and environmental issues they face in their exile in the Hamada Desert. He explores these interconnected realities through diverse art practices including films, writing and community-based art. His film DESERT PHOSfate weaves through narratives of sand particles, plants, people and minerals displacement. His international exhibitions include the Helsinki Biennial, Finland, Luleå Biennial, Sweden and recently the California African American Museum, USA. His works brought the Sahrawi cause and story to art spaces and institutions worldwide. He was recently awarded the Prince Claus Fund award “Cultural and Artistic Response to the Environmental Crisis” and delivered the J. M. Anderson Endowed Lecture at PennState University this year.
CONTACT
Email: contact@motifartstudio.com
Niamh Coffey
ARTWORK
Metamorph (Gemini Season) / Siúnta
2025
Tufted Textiles
These two works are taken from a body of work entitled Siúnta. Taking its name from the Irish for a seam or joint, the work weaves together disparate narratives from the National Folklore Collection into imagined ecological relationships. These collaged narratives offer an invitation to envisage new ways of interacting with and existing within the larger matrix of nature and the earth.
BIO
Niamh Coffey is a Dublin-based artist from Laois, working through textiles and sculpture. Their work experiments and collages ideas from ecology, queer theory and Irish folklore to create imagined ecological relationships. Their debut solo exhibition was held in Cultúrlann, Belfast in March 2025. Niamh graduated from NCAD in 2016 with an honours degree in Sculpture and Expanded Practices.
Previous exhibitions in which their work has featured include: Borders at Rua Red; Work/Force/Field/ at A4 Sounds and; Atelier Páipéar at Workhouse Union. Upcoming shows in 2026 include solo exhibitions at Custom House Gallery, Westport and GOMA, Waterford. In 2023, Niamh took part in peripheriesPOST, an experimental art school and mentorship programme in Gorey School of Art. In 2022, Niamh received an Agility Award from the Arts Council. In 2024, they were awarded Laois County Council’s Tyrone Guthrie Centre Residency Bursary and an Arts Act Grant in 2025.
CONTACT
Email: nkcoffey@gmail.com
Oisín Tozer
ARTWORK
Brassica juncea
2025
Site specific carving on poplar ply
Brassica juncea is a site specific carving featuring imagery of the plant of the same name. Rendered through straight lines of varying thickness, the mark-making present in the work is both delicate and aggressive, with the loose chippings from the act of carving being scattered on the floor. These tensions echo the legacy of extraction and ecological violence the plant is entangled with.
Brassica juncea is capable of absorbing heavy metals such as lead, cadmium, and uranium from contaminated soil. The plant is commonly used in phytoremediation—whereby plants are used to cleanse land polluted by industrial practices, mining, and military activity. The plant’s proximity to human activity calls into question the binary distinction between nature and culture.
BIO
Oisín Tozer is a multidisciplinary artist. Their practice draws upon a range of media and materials to investigate our relationship with and understanding of nature.
Tozer draws from the fields of philosophy, ecology and botany to develop various, separate works which form interconnected relationships, culminating in installations.
These installations collapse binaries surrounding understandings of nature, as seemingly divergent images, forms and materials are allowed to exist in a form of co-constitution. Their work aims to de-construct the idea of nature as a transcendental principle or category through an emphasis on duration, relation and site.
CONTACT
Email: oisingoz@gmail.com
Una Walker
ARTWORK
Zone
2025
Video, 5 mins
Zone is a short video which explores poetically the separation of land from sea, the growth of lichens on the surface of rocks and the eventual production of soils on which plants can grow. Lichens are extraordinary – they are organisms made up of numerous species of fungus and algae, or bacteria, living in mutually advantageous or symbiotic relationships.
They have played a critical role in the transformation of the surface of earth and the provision of nutrients to other life forms. Merlin Sheldrake describes the process by which lichens “mine” rocks for minerals “First, they physically break up surfaces by the force of their growth. Second, they deploy an arsenal of powerful acids and mineral-binding compounds to digest the rock…When lichens die and decompose, they give rise to the first soils in new ecosystems.” The material for the video has been shot on the shores of Strangford Lough, a Marine Nature Reserve.
BIO
Una Walker is an artist and writer based at Flax Art Studios, Belfast. She has exhibited extensively in Ireland and internationally, making site and context specific installation, audio and video works, and works on paper. Many of these works have dealt with aspects of individual memory and on the construction of collective memory. Site specific installation works have been constructed in diverse locations including: military fortifications in Ireland, Scotland and Finland: a derelict factory in Poland; and a cathedral in Wales. Her audio and video works have been included on numerous broadcasting platforms and in international festivals.
CONTACT
Email: utwalker00@gmail.com
EXHIBITION TEAM
Curatorial Team
Lead Curator: Lisa Crowne
Assistant Curator: Indigo Woolfrey
Funders
The Arts Council of Ireland
Dublin City Council Arts Office
Installation Team
Lisa Crowne
Indigo Woolfrey
Conor Courtney
Aideen Farrell
Lucy Carrick
Kat Lalor
Fabrication: Large Column
Art Direction: Lisa Crowne
Structure Design & Build: Conor Courtney
Audio-Visual Design & Installation: Indigo Woolfrey
Build: Conor Courtney, Indigo Woolfrey, Lucy Carrick, Lisa Crowne
Fabrication: Columns
Art Direction: Lisa Crowne
Design & Build: Indigo Woolfrey
Audio Visual Design & Installation: Indigo Woolfrey
Build: Indigo Woolfrey, Aideen Farrell, Lucy Carrick
Exhibition Audio-Visual Design
Art Direction: Lisa Crowne
Design, Programmed & Installation: Indigo Woolfrey
Lighting
Lisa Crowne
Indigo Woolfrey
Documentation
Kate-Bowe O’Brien
Invigilation Team
Fionn Pluincéid
Crystal Yamna
Lisa Crowne
Indigo Woolfrey
Linda Kavanagh
Access Information
Our building is situated off Upper Dorset Street approx 14 mins from The Spire.
DETAILED DIRECTIONS
Walking & Wheeling
O’Connell Street: 14 mins from The Spire (directions)
Phibsborough: 11 mins (directions)
Bus
Luas
Parnell Stop (Green Line): 10 mins (directions)
Dominick Stop (Green Line): 12 mins (directions)
Broadstone Stop (Green Line): 12 mins (directions)
Abbey Street (Red Line): 17 mins (directions)
Dart
Drumcondra Station: 13 mins (directions)
Tara Station: 24 mins (directions)
Connolly Station: 28 mins (directions)
Car
There is onsite paid parking nearby our building, with a larger carpark located at The Mater Hospital.
Mater Hospital Carpark: 4 mins (directons)
Accessible Parking
There are 30 accessible parking spaces nearby our studios between 2 and 8 mins away.
Parking 2-3 mins away:
- Nelson Street: 1 space, 210m
- Hardwick Place: 1 space, 220m
- Eccles Place: 2 spaces, 220m
- Eccles Street: 3 spaces, 230m
- Hardwicke Place: 1 space, 220m
HEALTH PRECAUTIONS
What We Will Do:
Provide FFP2 masks at the door for all visitors.
Air purifiers with HEPA filters will be running in the gallery.
A CO2 monitor will be at the gallery door.
Doors will be opened regularly to ventilate the room.
All staff will take an antigen test on the day of the event.
What You Can Do:
If you feel newly unwell, or have been in contact with someone who has been sick in the days before the event, please stay at home.
If you can afford to, please take an antigen test before coming to the event.
If you test positive for Covid-19 or the flu, please stay at home.
If travelling by public transport or taxi please wear a mask for your journey.
Ensure to wear a mask indoors at all times.
OUR BUILDING
Arriving Here!
When you arrive at the gallery there is a kerb outside as part of the pavement which you may need to navigate depending on the direction you arrive.
There is a small slope at the entrance at the desk where the material of the floor changes from cement to a tiled surface.
The door will be open and there will be a staff member to greet you at the front desk.
The front desk will be immediately in front of you approx 1m from the front door.
The Gallery
Our gallery is located on the ground floor and is accessible.
It is located about 5m from the front door.
There is a small ramp into the gallery space.
The floor is currently suspended wood.
Our garden can be accessed via the gallery.
The Garden
The door to the outdoor area is straight across from the gallery door, and a distance of approx 5m.
The outdoor area has heating which can be turned on and off to suit your needs.
The outdoor area has a garden with a covered seating area with wooden benches, wooden and plastic stools.
There are additional wooden benches is covered with an awning. This area may offer less protection from the wind or rain.
There are a number of wind breakers installed around the garden to offer some protection from the cold in winter.
To the back of the garden there is a mezzanine which is accessed by approx 15 steps with wooden benches
BATHROOMS
Ground Floor Toilet
All bathrooms & toilets are gender-neutral.
There is one accessible toilet in our outdoor garden area. It is a portaloo.
First Floor Bathrooms
All bathrooms & toilets are gender-neutral.
There are three indoor bathrooms which are not accessible.
The indoor bathrooms are located on the first floor via a flight of stairs (approx 22 steps) so may provide difficulties for folk with movement impairments.
EVENT INFO
Seating & Comfort
Seating
There will be a selection of seating including 6 soft chairs, and plastic canteen chairs with chair pads.
If you require a comfortable chair please let us know when booking your ticket.
We will reserve comfortable seating for anyone that lets us know at the time of booking.
You can also email us via indigo@a4sounds.org or let us know on the night. Please note we can not guarantee a comfortable seat on the night due to the limited number available, bue we will do our best to accomodate you.
Beds / Laying Down
There is a large structure which has 4 large beds with screens to view the films while lying down.
There are two capsules at the bottom on the structure with beds, and two additional on top with beds which can be accessed via approx 6 steps.
The top level may be difficult to access for persons with restricted mobility.
Blankets & Cushions
There will be additional blankets and cushions throughout the gallery.
Lights & Video
Lights
The room will be dimly lit with LED spotlights .
Lights will be turned down during the screenings.
There will be no flashing lights.
Film
Filmss will be played on a large screen using a projector.
There will be no flashing or glitching video
Sound
Sound
Sound will be played on a PA system.
The volume will not be excessively loud.
There will be no loud, sudden or overly harsh noises in the films.
HOW TO BOOK A TICKET
Booking Link
You can book your visit via the link below:
Page 1
First, select your preferred date and time to visit from the drop down menus. You can find them on the right handside of the page underneath the description of the event.
Next, if you have accessibility needs, click the box inside the pink area underneath accessibility needs section. Skip this section if it is not applicable.
Next, if you would like to make a donation, please enter the donation amount inside the box in the section marked pink
Next, click the add to cart button which is located below the total amount.
The screen will refresh. Now you will see a ‘view cart‘ button on the top right of the screen. You can also click the shopping cart icon on the top banner area.
Page 2
There is no shipping required for this booking, so please click the ‘continue to check out’ button
Page 3
Fill out your billing information in the pink box.
Next, the subscribe to our newsletter button is automatically checked. If you do not wish to do this uncheck this box. It is just below the pink box
Important
Next, if is the if shipping details are different to billing details. Please click the heading of this section so it closes and no longer requires details to be inputted. This is important to be able to check out without errors.
Next, scroll down and check the I have read the terms and conditions box
Next, check the I am not a robot box
Finally, click the place order button.
Confirmation Page
You will now come to a confirmation page. You do not need to do anything further. We will have your name ready at the door to check in.