METANOIA II: Complex Quixotian Escape

Bullo

Year:

2009/11

Media:

found object, velvet, porcelain, silver, high visibility velvet, video, dimensions variable

Size (cm):

40 x 80 x 23

Roma 2018

Other works

Cheonggukjang ‘Dead Body Soup’ Vessel III, (I-IV)

Bullo

Year:

2013

Media:

Bone China, Ink

Size (cm):

28 x 28 x 2

Roma 2018

Peregrinus II

Bullo

Year:

2017 work in progress

Media:

fiber glass, high visibility material, pigment

Size (cm):

38 x 20 x 35

Roma 2018

Biography

I am an Irish/Italian artist based in Dublin, Ireland. My practice has been predominantly concerned with an investigation on the healing mechanisms used to mend wounds, the ritualistic implications involved in the process and how myth, folklore and common belief hold responsible, objects such as amulets or physical locations, with healing properties.

Project

My proposal for Artrooms Rome, is a site specific installation which will comprise sculpture, photography and video (using the TV in the hotel room). The theme of the installation is based on my ongoing investigation on personal mythologies and our relationship with amulets and rituals and how they may manifest in contemporary society. Some of the work will consist of pre existent artworks while others will be new pieces.
The installation proposed will have contrasting elements in relation to materials and aesthetics aiming to evoke curiosity in the viewers. Materials will be juxtaposed such as velvet and high visibility material, one associated with luxury and precious objects as well as esotericism while the fluorescent yellow of the high visibility material is used for warning evoking something dangerous similar to the radioactive danger signs. On the walls (were permitted), four porcelain plates will be hung portraying images of cannibalism (please see image #1 Cheonggukjang ‘Dead Body Soup’ Vessel I-IV ) although familiar objects they portray violent imagery and in addition to the ritualistic implications of the practice, in this work it also deals wit the topic of cultural anthropophagi and globalization A classically sculpted Peregrine Falcon made in fiberglass and painted with a fluorescent yellow colour reminiscent of something radioactive/dangerous will be placed high on a wardrobe in the room or in the corner of a desk/table of the room (please see image #3). In this work the sculpture of the noble rapacious bird is an amulet. The falcon is one of the erliest images of kingship in Egypt, it was the emblemen of the high god Falcon Horus and the personificatin of divine and regal power. The peregrine falcon’s name originates from the Latin Peregrinus, meaning someone from foreign parts, a wanderer making the spirit of peregrination. Peregrines falcons are a protected species; its population in Europe and in the world had catastrophically declined in the 1960’s due to poisoning. Much the way the falcon has made its own expansion into global dispersion and migratory routes up to 18,000 miles long, in this work the Peregrine Falcon also symbolizes survival and migration including the contemporary aspect of displacement we are facing now.
Four photographs (approximately 15cm X 15 cm, the small size chosen to be intimate glimpses into the world of contemporary practices of rituals) representing amulets will be hung on the walls of the hotel room where permitted (or in other alternative places in the room). The bed of the hotel room will be covered with a bedspread made of high visibility jackets sewn together. A white coloured ex-voto heart, will also be exhibited casted in crushed animal bones and plaster resting on a purple velvet cushion placed on either the bed or another appropriate surface. In the TV screen of the hotel room a video will be playing on a loop showing the writing of a work I am currently making in neon: don’t believe in miracles- the don’t will intermittently be flashing changing the meaning of the phrase: don’t believe in miracles/believe in miracles. In addition the phrase ‘Grace Deceived’ (taken from the phrase often used on the ex-voto practice of Grace Received) consisting of individual fabric letters in either purple velvet or yellow high visibility material (the choice will be dictated by the colour scheme of the room assigned) will be attached using Velcro or other non-permanent adhesive on the curtains of the hotel room. The aim is to engage the viewers with the artwork by arousing curiosity with the contrasting imagery and materials/colours, which will hopefully draw them in closer to the work. Lastly as part of the installation I would also like to invite the viewers to share their experiences of rituals if they wish with the artist (ie: do they have a special object or do they perform a particular ritual that they believe brings them luck?) and record these in a notebook, which will be placed in the room.

In summary the work that I would be showing is:
• 4 porcelain plates entitled Cheonggukjang ‘Dead Body Soup’ Vessel I-IV , (pre-existing work) #2
• 1 fiberglass sculpture depicting a peregrine falcon (pre-existing work) #3
• 1 sculpture made of crushed bones and plaster resting on purple velvet cushion (new work)
• 4 photographs representing contemporary real life shires and amulets (new work)
• a bed spread made of High visibility material (new work)
• a video of flashing Neon signage from the TV (new work- the neon sign is in the process to be made)
• an intervention using fabric lettering in purple or high visibility material on the curtains attached using Velcro or other non invasive and non permanent adhesive with the phrase – For Graced Deceived (new work-the letters will be pre-made and attached in situ)
• a notebook where stories related to rituals, miracles and amulets can be used by the viewers to write their stories if so they wish.