Lorraine Whelan - Liminal

Artist Statement

I am a Canadian visual artist and writer based in Bray (Ireland).

I develop my work from charged responses to personal circumstances and my environment. I have an ongoing interest in the study of dreams and often use dream imagery and symbols related to my life and family history within both my visual and verbal repertoire.

My visual practice consists of painting, drawing, print media, and bookbinding. I also work with ceramics and have used ceramic items in combination with bookbinding and printmaking. My written practice consists of poetry, fiction, non-fiction and art criticism.

My writing has been published in Ireland, Canada, USA & online and I have had both solo and group exhibitions in Ireland, Canada, France, China & online. My artwork is included in public, corporate and private collections in Ireland, Canada, USA, UK & Australia.

http://www.lorjames.com/

http://lorrainewhelan.blogspot.ie/

https://www.facebook.com/PrecariatPress/

https://www.instagram.com/precariat.press/

https://www.facebook.com/LorraineWhelanArtist

https://www.instagram.com/lorraine.whelan.artist/

Lorraine blogged about her time exhibiting at the Tiny Cat Gallery here https://lorrainewhelan.blogspot.com/2020/09/liminal.html

Information on Liminal & Individual Works in this Exhibition

My exhibition takes its name from both of the word’s definitions that I think are very relevant – 1. relating to a transitional or initial stage of a process; 2.occupying a position at, or on both sides of, a boundary or threshold.

Shore 1-4: Occupying a space that can be lapped by waves and enjoy dry air simultaneously, I have always been obsessed by small stones on the shoreline. They shine in their moistness, and appear more colourful than their counterparts further inland.

Branches 2 & 3: Shinrinyoku walks are full of noticing fallen branches – in the stream, strewn on the footpath, and within the woods themselves. I have an aversion to using brown to depict the colour of trees and tend towards their lush life within – greens, turquoises and always fauve reds make an appearance.

Narcissus: Adding a dried flower as an inclusion while making silk fibre paper was a deliberate act. Choosing a narcissus to entrap in the silk gives this piece unavoidable mythical connotations.

Star Cloud: The acetate stars were an experimental man-made inclusion while making this tiny piece of silk paper, whose form took its own random cloud shape. The deep pink of the dye and the stars held within the fibres give the piece an overall sense of magic.