Aideen Barry MEM 2022 Mañana Incierto – FESCH.TV

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Aideen Barry
Aideen Barry espresio bideak elkarren artean trukatzen dituen artista da, performancearen, mugimenduko irudiaren eta eskulturaren manifestazioak tartekatuz. Trikimailu bisualak erabiltzen ditu errealitatearen etenaldi areagotua sortzeko, antsietatea ahal bezala eramaten saiatzea delarik bere lanaren izendatzaile komuna.
Fikzio optikoaren enfasia jartzen du Barryk jokoan bere azken piezetan, disonantzia kognitiboaren sentsazioa sortzeko. Ikusleak paradoxikoki esperimentatzen du lana: erakarrita baina aldaratuta. Gauza bat aldi berean familiarra eta arrotza gerta daitekeen instantziara jotzen du maiz, fenomenologiaren ideia bat kuestionatuz eta deserosotasuneraino arrotzak eta mehatxuzkoak diren egoerak sorraraziz. Ginofobia eta munstrozkoaren gaineko meditazio feministak McGuffina dira bere azken mugimenduko irudiko lanetan.

Aideen Barry
Aideen Barry is an artist whose means of expression are interchangeable, incorporating performance, moving image and sculptural manifestations. Employing visual trickery to create a heightened suspension of reality, the common denominator of Barry’s work is an attempt to deal with anxiety.
At play in her more recent works is an emphasis on optical fiction to generate a sense of cognitive dissonance. The viewer experiences the work in a paradoxical fashion: attracted and yet repelled. Barry often engages with the instance where something can be familiar, yet foreign at the same time, questioning an idea of phenomenology and resulting in situations of the uncomfortably strange and threatening. Feminist meditations on gynophobia and the monstrous are a McGuffin in her most recent moving image works.

Aideen Barry es una artista cuyos medios de expresión son intercambiables, incorporando performance, imagen en movimiento y manifestaciones escultóricas. Empleando trucos visuales para crear una suspensión intensificada de la realidad, el denominador común del trabajo de Barry es un intento de lidiar con la ansiedad.
En sus obras más recientes hay un énfasis en la ficción óptica para generar una sensación de disonancia cognitiva. El espectador experimenta la obra de una manera paradójica: atraído y al mismo tiempo repelido. Barry a menudo se involucra con la instancia en la que algo puede ser familiar, pero extraño al mismo tiempo, cuestionando una idea de fenomenología y dando como resultado situaciones incómodamente extrañas y amenazantes. Las meditaciones feministas sobre la ginofobia y lo monstruoso son una McGuffin en sus más recientes trabajos de imagen en movimiento.

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Aideen Barry
“Listen. Liquid, the syllables; the echo, luminous” Mix Media 3 Channel Video installation with Drawing
During the lockdown I really found my anxiety was completely out of whack. I turned to ASMR (Autonomous Sensory Meridian Response) videos to help me sleep, it became my digital pilgrimage, I would play nature sounds and digital audio-scapes to help stave off the waves of insomnia that plague my world. I also found much solace in gardening and going out in nature walks with my kids and dogs each day.
My Turas, was both physical and digital. It was the commitment I made to myself each day to keep the black canine at bay. When I considered what Turas is now I had to make a kind of unattainable image of respite. This mixed media work is a digital “copy” or manifestation of nature, it a bricolage of hand drawn representations of nature, then reassembled digital collages of moving images of nature, hand draw digital animations replete with an audio score made up of my own sensory sounds that I found help to trigger that tingling experience that would eventually leave my body to a sense of calmness and eventual sleep. The title of the work is taken from another piece of art, a line from the poem by the great Doireann ní Ghríofa from her work “At Bridget’s Well” Poetry I found had a similar affect on me, it was a material I returned to a lot over the course of this plague year. It expanded my hypothalamus to picture materials and fluid in-between spaces and allowed my racing mind to rest. The poem by Ní Ghríofa is an ode to Bride, not Columcille, but these two iconic Irish figures have wells, pilgrimage and liminal dreamy in- between spaces in common. The latter mentioned wells and sacred sites, only a stones throw from the initial location of the first iteration of this work work, Glebe House Gallery. In this wonderful work of literature the piece sees nature is a potent material, it transcends the reader to a kind of astral plane beyond a place of pain and suffering. As an artist you can only hope to achieve such distraction to the complexity and anxiety that this world seems to dish out at times.