Her sculptures are made by methodically dismantling discarded items of clothing into material components, which are then slowly woven and knotted into large, textured forms. Each piece can take up to five months to complete, and each work is composed of material that has been recycled, donated, or discarded.
In 2022, Lucy received a MA in Art and Research Collaboration from the Institute of Art Design and Technology, Dunlaoghaire, Ireland. Lucy’s work also featured in the Royal Dublin Society’s Visual Arts Awards 2022, where she received the Royal Hibernian Academy’s Graduate Studio Award 2022.
Mandy O‘Neill (@photomando7) is an Irish photographer based in Dublin, Ireland. Her work inhabits a space between social commentary and representational strategies, with an emphasis on the relationship between people and place.
Much of her practice has evolved through extended artist residencies in schools and through engagement with young people. Her current research considers the themes of place, belonging and the impact of development on the landscape, through a photography-based study of the inner suburb of Cabra, Dublin.
Mandy has an MA in Public Culture Studies and a BA in Photography. Her work has been exhibited both nationally and internationally. Selected exhibitions include Photo Museum Ireland, National Gallery of Ireland, Draíocht and CCI Paris.
She received funding from Arts Council of Ireland, Dublin City Council, Creative Ireland and Culture Ireland and was winner of the 2018 Zurich Portrait Prize at the National Gallery of Ireland. She is currently undertaking a practice-based PhD at Dublin City University, funded by the Irish Research Council.
Michelle Malone‘s (@michelle_malone_) practice is based on her experience growing up in a variety of social housing systems in inner city Dublin. Her multi-disciplinary installations are comprised of sculpture, image-making, oral histories, audio and text. Her practice seeks to give material voice to working-class histories from the perspective of lived experience. It is her belief that the art industry needs to let marginalized people tell their own story.
She believes that objects have a collectively known cultural value and that all materials are biased. It is her intention to instrumentalise and weaponise the shared meaning of materials and objects to visually tell working-class histories, and to create embodied empathy/identity for the subject matter. The ultimate goal of her practice is to enter authentic working-class symbolism into the artistic canon.
Myfanwy Frost-Jones (@miffytheartist) is an artist and oyster farmer based in the West of Ireland, Myfanwy’s work examines the relationships between land, landscape and ecology in a rural space. Layering conflicting histories of colonialism and invasion with current issues of shellfish farming, biodiversity and coastal erosion, she works with photography and moving image installation.
