Oona Hyland | Fragments from the Floating World, 2022
Woodblock
Media Dimensions: 100 x 70 x 0.2 cm
Image Dimensions:
Edition of 12 (with unique variations)
Installation
STATEMENT - OONA HYLAND Oona Hyland’s interests are interlocked in the materiality of print itself and what such processes can convey towards a conceptual art practice. Her method is a vehicle to articulate processes of memory, concepts of boundary, resistance, erasure, and decay. In this sense her work tends to draw from traditional printmaking even as she expands into various other media, such as drawing, sculpture, film and video. In her works she argues that the knowledge(s) of printmaking can be applied to existential matters. For the last three years Hyland has been working on a project called Active Forgetting based on the institutional abuse which took place in Irish mother and baby homes and Magdalene laundries, between 1922 and 1998. The work she is making is an exploration of insidious trauma both from a personal and political viewpoint. Hyland is concerned with the power of trauma, which can be intergenerationally transferred. It does not fade and can haunt the children of survivors. The unspoken grief of minority subjects is another concern. Erasure is an important theme and integral to her material process. This is a series of experimental works, primarily print, but also using film and alternative photographic techniques such as Cyanotype. The film Touching Time is a collaboration with Anna Viola Hallberg who like Hyland explores ideas of ‘otherness’, marginalisation and the scapegoat, and the legacy of betrayal involving both people and institutions of the state (as Hannah Arendt would say the ‘banality of evil’). Hyland is interested in exploring these ideas not to illustrate them but to embody them through the processes involved in making the work.
Woodblock
Media Dimensions: 100 x 70 x 0.2 cm
Image Dimensions:
Edition of 12 (with unique variations)
Installation
STATEMENT - OONA HYLAND Oona Hyland’s interests are interlocked in the materiality of print itself and what such processes can convey towards a conceptual art practice. Her method is a vehicle to articulate processes of memory, concepts of boundary, resistance, erasure, and decay. In this sense her work tends to draw from traditional printmaking even as she expands into various other media, such as drawing, sculpture, film and video. In her works she argues that the knowledge(s) of printmaking can be applied to existential matters. For the last three years Hyland has been working on a project called Active Forgetting based on the institutional abuse which took place in Irish mother and baby homes and Magdalene laundries, between 1922 and 1998. The work she is making is an exploration of insidious trauma both from a personal and political viewpoint. Hyland is concerned with the power of trauma, which can be intergenerationally transferred. It does not fade and can haunt the children of survivors. The unspoken grief of minority subjects is another concern. Erasure is an important theme and integral to her material process. This is a series of experimental works, primarily print, but also using film and alternative photographic techniques such as Cyanotype. The film Touching Time is a collaboration with Anna Viola Hallberg who like Hyland explores ideas of ‘otherness’, marginalisation and the scapegoat, and the legacy of betrayal involving both people and institutions of the state (as Hannah Arendt would say the ‘banality of evil’). Hyland is interested in exploring these ideas not to illustrate them but to embody them through the processes involved in making the work.
Woodblock
Media Dimensions: 100 x 70 x 0.2 cm
Image Dimensions:
Edition of 12 (with unique variations)
Installation
STATEMENT - OONA HYLAND Oona Hyland’s interests are interlocked in the materiality of print itself and what such processes can convey towards a conceptual art practice. Her method is a vehicle to articulate processes of memory, concepts of boundary, resistance, erasure, and decay. In this sense her work tends to draw from traditional printmaking even as she expands into various other media, such as drawing, sculpture, film and video. In her works she argues that the knowledge(s) of printmaking can be applied to existential matters. For the last three years Hyland has been working on a project called Active Forgetting based on the institutional abuse which took place in Irish mother and baby homes and Magdalene laundries, between 1922 and 1998. The work she is making is an exploration of insidious trauma both from a personal and political viewpoint. Hyland is concerned with the power of trauma, which can be intergenerationally transferred. It does not fade and can haunt the children of survivors. The unspoken grief of minority subjects is another concern. Erasure is an important theme and integral to her material process. This is a series of experimental works, primarily print, but also using film and alternative photographic techniques such as Cyanotype. The film Touching Time is a collaboration with Anna Viola Hallberg who like Hyland explores ideas of ‘otherness’, marginalisation and the scapegoat, and the legacy of betrayal involving both people and institutions of the state (as Hannah Arendt would say the ‘banality of evil’). Hyland is interested in exploring these ideas not to illustrate them but to embody them through the processes involved in making the work.
