I can’t tell what my favorite part is, but it’s either
- scientists wasting budget and time to see if ants count their steps
- the idea to put ants on stilts
- there had to be a guy who made ant stilts and put them on the ants
- confused ants
petition for the next companion to not be a white girl in her 20s who crushes on the Doctor
petition for the next companion to be a grumpy chinese-american grandma who complains about plot-holes and knits the doctor horrific time-travel-themed sweaters to wear when she thinks it’s cold out (most of the time)
A policeman rips the American flag away from 5-year-old Anthony Quinn, having already confiscated his ‘No More Police Brutality’ sign. Jackson, Mississippi. 1965. Photograph by Matt Heron
We are The Muses. Goddesses of the Arts and proclaimers of heroes.
Calliope, Clio, Terpsichore, Melpomene, Thalia
marvel (part 2) | text posts
Cottages of Quigley’s Point
Cottages of Quigley’s Point documents interventions in abandoned vernacular dwellings in my local area in County Donegal. In a landscape dominated by the legacy of therecent housing boom the remains of these older cottages are easily found, down country lanes and hidden in clumps of trees. They are known in the community by the names of the families that last lived in them, whether these families still live in the area or have moved away, and reflect that the historical aspects that linger in rural places remain a part of contemporary life.
It is common to read images of derelict cottages in a nostalgic light, celebrating the simplicity of an older way of life with a romantic attachment to hearth and home. This romanticising tendency precludes the encountering of such spaces as they actually are, as part of the landscape as it is now. The interventions are intended as a fresh approach to subject matter that would otherwise be considered an evocation of the past. The addition of bright colours and movement situate the subject in the present, briefly reanimating it in the encounter, and marks my exploration of this redundant yet accessible aspect of the locality.
My motive with this project is to disrupt rather than oppose traditional imagery of the Irish cottage, avoiding the dichotomy of the romanticised and the real. Rather, by interrupting the static interiors of these buildings I add an active and particular dimension to this element of the rural landscape, pursuing a personal means of negotiating past and present in my local community. (artist statement)