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= Liadin Cooke = Liadin Cooke (born 1958 in Dublin, Ireland) is an Irish multi-disciplinary artist.

Having first studied sculpture at the National College of Art and Design, Dublin (1983-87), from there Cooke relocated to London, England, where she completed a Masters degree at Goldsmiths College (1994-96). Since the year 2000, Cooke has resided in the northern English city of Huddersfield, West Yorkshire. Her work has been exhibited both nationally, and internationally, most notably at the Yorkshire Sculpture Park (2006), The Henry Moore Institute (2003) , and the PS1 Gallery (MOMA), New York (1989-90/1999). Currently, Cooke combines her ongoing art practice with a position as lecturer on the BA (Hons) Fine Art course at Leeds Art University (previously, Leeds Art College) whose alumni include many notable figures in the British art world, including Barbara Hepworth, Henry Moore and Damien Hirst.

Life
Born in 1958 in Dublin Ireland, Cooke is the first child of American journalist Harriet Pearl (née Leviter) Cooke (14th Feb, 1936 - 25th May 1990) and Barrie Cooke (13th June 1931 - 4th March 2014), an artist of Anglo-American parentage. Cooke has two younger siblings (sisters Julia and Áine) the youngest born as a result of her fathers relationship with Dutch ceramicist Sonja Landweer

Cooke credits the involvement of her family in the worlds of arts and crafts as instrumental in her initial interest in art. She notes in an interview in 2010: "In my family there is a ceramicist and a weaver and I remember... having very heated arguments about the difference between art and craft, I’m not sure who won but they were an important part of my learning about how to look and judge what you see. "

Cooke's father, during an interview with The Sligo Champion in 2011, related a tale of when Cooke first expressed an interest in becoming a sculptor. He stated: " She is on her way to being a very important sculptor. She began as a model in NCAD and when she first told me she wanted to be a sculptor years ago I said; "but you're a model!" "

Throughout her life, Cooke has been subject to the condition of synaesthesia (a neurological condition in which the senses are linked). Cooke states that being a synaesthesia has had a particular influence on her later works, as her experience of synaesthesia has begun to fade, and as a result, she has become drawn to ever brighter colour schemes in her work as compensation for this.

An archive of writings and drawings between her father and his lifelong friends Seamus Heaney and former British Poet Laureate Ted Hughes have been acquired from Liadin Cooke and her siblings, on a first refusal basis, by Hughes' Alma Mater, Pembroke College, Cambridge.

Influences
Cooke has referenced the American Sculptor Donald Judd as a notable influence on her own work on several occasions. Cooke notes the significant impression his work left upon her after viewing his work as a student in the early 1980's. "One of the most important exhibitions I saw as a student was a show at the Saatchi gallery on Boundary road in the mid 80’s by Donald Judd. It completely bowled me over – particularly the way his work moves without compromise between sculpture, architecture and furniture. "

Early Work
Cooke began her artistic career as a performance artist in the 1980's with the works produced centering around the lived experience of women. Later works from the 1990's onwards, began to move toward a more greater abstraction with fewer overt references. During the Included in a number of  group shows at the PS1 contemporary art gallery, Museum of Modern Art, New York during the 1990's.

Ballroom (ornament) (2003)
In 1995 Cooke attended a reception to celebrate St Patricks Day at the Irish Embassy in London. Whilst there, she was particularly taken by the ornamentation of the ballroom which was used for state receptions. The Victorian building presenting its decor, in a manner the artist describes as, a "Viennese chocolate box" style. She further noted, that it imbued the room with an aura of "tasteless opulence" alongside its "sense of fun" and fantastic detachment from the reality of modern life. The culmination of this experience was expressed in her work Ballroom (ornament) (2003) produced for her solo show of the same name at the Henry Moore Institute in Leeds, West Yorkshire during the summer/autumn of 2003. Taking the form of a small irregularly shaped oval, cast on bronze, and decorated with tiny flowers. This work was created as a “bucolic” reference to, as she perceived it, the Victorian’s “obsessive” desire to make nature conform to their own particular sense of beauty. Cooke also references a sense of place in the work, noting the Victorian architecture of the gallery space in which it was to be displayed.

Overlay: Sculpture & Drawing (2006)
Overlay, Presented in 2006, at the Yorkshire Sculpture Park, Wakefield, featured works which took as their inspiration from an eclectic range of influences, including; breeds of tulip, microbes and viruses, and Charlotte Brontë's 1847 novel, Jane Eyre. Works included in the show included: Gem of the Shah (2006), a work named for a (subsequently lost) breed of tulip first cultivated during the reign of the Ottoman Empire. Cooke took an interest in the fact that the variegation of the petals, which made it so prized by collectors in the 17th century, was actually caused by a virus in the plant. Cooke references this combination of beauty and disease within the work via the application of acids to the surface, which scars the metalwork from which the body of the work is formed. Alongside this work were also shown Bane of Bliss (2006), a sculptural work, cast in bronze, and named after a line (“Bane of bliss and source of woe” ) from the poem 'Avarice' by George Herbert. This poem gives consideration to the conflict between the production and utilisation of currency and the adverse consequences of that production upon the lives of humankind. A Heterogeneous Thing (2006) consisted of a construction of clustered strings each individually coated in red wax suspended from a steel peg, references the infamous 'Red-Room' passage (wherein the eponymous protagonist is locked in a room, the location of her uncle's demise, causing her to suffer severe psychological trauma) from the novel Jane Eyre by Charlotte Brontë : "They were not bound to regard me with affection, a thing that could not sympathize with one amongst them; a heterogeneous thing...". Finally, the work Syeg (2006), a small sphere of anodised aluminium, completed the show.

Holden (2010)
In 2010, Huddersfield Art Gallery launched it's Dialogues initiative, wherein six artists who living the local area were commissioned to produce work relating to work in the galleries collection. Cooke was the fourth such artist to undertake this commission. Cooke was requested to respond to 'Farnley Hey' a Bauhaus inspired house built by British architect Peter Stead, from a design by Peter Wormosley, in the 1950's. The house, situated in Almondbury, Huddersfield, had long been considered an iconic piece of design, having won a medal from the Royal Institute of British Architects upon its construction in the 1950's. Stead was an adherent of the DeStijl, or Neoplasticism, school of art theory. Cooke herself cites it as a “ray of light” when first moving to the area in the early 2000's. The final work produced was showcased in the show entitled ‘Holden’. The exhibition was on display between the 17th of April - 19th of June 2010. the exhibition was accompanied by a seminar on the 13th of May at Huddersfield University entitled : Liadin Cooke and Peter Stead. This seminar included a conversation between the artist and David Ward regarding her work, with a following discussion by the Artist Phyllida Barlow on the themes raised by Cooke's work. Works included in this show were: Housement (2010), A work constructed from felt and perspex, it attempted to create a plan for a house using two of the later works (Composition with Red and Black,1936 and Composition with Red and Grey, 1935) of the artist Mondrian as inspiration. Holden (2010), a work crafted from wood and embroidery, is explained by Cooke to have been chosen as the title with which she chose to designate the work/show for the following reasons "The word Holden comes from the archaic past participle of held. I was working from the premise of making something that could be held or possessed." Embroidery for Holden "Asking women from the Huddersfield Embroiderers Guild to embroider my drawings of House Plans... (came) out of a desire for me to see the drawings translated into something that was a combination of the labour intensive, the banal and the domestic that would offset the masculinity that seems to me to be an integral part of modernism. The women who are members of the guild... make things with an incredible degree of unassuming skill, which I couldn’t even attempt to emulate. Through them the concept of collaboration has become very important to Holden." Comprised of a series of watercolour and pencil drawings on paper, House Plans (2010) This collection of works detail the floor plans of every home the artist inhabited during her lifetime. Completing this collection of works is Tentement (2010).

Northern Art Prize (2011)
2012 saw Cooke nominated for the Northern Art Prize. A prestigious competition, the Northern Art Prize, is judged by artists and art professionals from art institutions throughout the north of England. Ultimately, Cooke's nomination resulted in her winning a place on the shortlist of artists selected to take part in a show at Leeds Art Gallery. Miserable Object (2011). was comprised of a series of horizontal lines in red wax on a plain white background, makes reference to an embroidered sampler produced by a former nurserymaid Elizabeth Parker in the 1830's, discovered by Cooke within the collection of the V&A museum, London. In the closely embroidered text, stitched in red silk thread, Parker directly addresses the reader (" A person to whose intimacy and tenderness I can fully intrust"), revealing to them her life story. As the V&A text notes, the tone of the language used, reveals an, "increasing desperation" on the part of the author. Cooke's consideration of this "extraordinary" sampler, developed from a desire to capture the sense of mental anguish which caused Parker to create her work. Her use of wax as a medium resulted from a desire to replicate the attention to detail and active physical nature of the work required to complete Parker's sampler. Cooke states; wax is " a slippery substance" and "requires concentration to control". Additionally, Cooke attempts to draw parallels between the mutable nature of the wax and the instability of Parker's mental state. Finally, the words 'miserable object', text taken directly from the sampler itself, are written centrally, hidden between two rows of wax lines. Thus, the observer is required to literally "read between the lines" of the work.

Completing the selection of works for this show were, Colour D (2011) a work crafted from painted bronze and felt cast from the scrapings from her pain palate. Cooke, having experienced Synaesthesia throughout her lifetime, painted the surface of this work in the colour (a light grey-blue) which, as a result of her condition, she associated with the musical note D. Felicific Bar (2011) a long brass bar coated in green wax, displayed leaning against the gallery wall, referenced Felicific calculus, the algorithm developed by philosopher Jeremy Bentham to determine the amount of pleasure a particular action is likely to produce. Cast from tin, Up Quark (2011) referenced the naming of the fundamental element of the nucleon, the Quark, by the physicist Murry Gell-Mann which, in turn, references lines from James Joyce’s, Finnegan’s Wake. Cooke stated that this work was devised to explore the notion that elements exist but can never be seen, that these "infinite parts" are "in the world waiting" and the attempt to "fix" these immutable parts. Finally, the selection was completed by a work entitled Some Particular Place (2011).

Nostos (2014)
In 2014, Cooke's 'Nostos' (exhibited at the nowherespace gallery, London), expanded upon earlier work in which the artist considered the subject of place. She states that, "for a long time I was making drawings about people moving around in a circle and coming back round to things". Nostos, A Greek word, meaning to return, provided the title for a collection of works. Cooke states: " I... liked the sound of the word: it looks good, it's tight, it holds the work together." The work included in this collection focused upon the idea of diaspora as "integral to the world we live in". In particular, she references her own experience as an émigré to Britain from Ireland and her Jewish heritage. Consisting of both drawings and wall based sculpture, the artist took inspiration from everyday objects which had been essential to her experience of homemaking in a foreign environment. She states that, "(these are objects) I want to live with".

Works displayed in this show included Firmamental Product (2014) a desk top carved from Walnut wood and cut to the same size as the desk in Cooke's own office, this piece includes a small hole which is a direct reference to the 'egg cup hole' sometimes seen in Irish dining tables of the working class poor during the 19th Century. The protrusion being a reference to the hand of the eternal artisan who carved this part of the work. the actual hand of the craftsman that carved the work being used as the model for this indentation. This work also include a 'crios' ,a handwoven belt of traditional Irish design, which would have been wound around the torso. This part of the work was intended to reference the colour seen in the work of British artist J.M.W Turner, and held the table to the wall as though it was being "held by water". This work derives it's name from a a line in the poem I Think that the Root of the Wind is Water - by the American poet Emily Dickinson.

Ignorant Brown (2014) constructed from plywood, gloss paint, and tin takes inspiration from the structure of a settle bed (a box like bed, often crafted from hardwood, which can be converted into a seat). In an interview for the show (Nostos) between the artist and Natalie Rudd, Cooke relates the story of her sister having slept in a settle bed, and comparing the experience to that of "sleeping in a coffin". Cooke continues, that this conversation left a notable impression upon her, and resulted in her consideration of how, the bed as an object, holds an important role as a conduit (via sleep) between the states of life and death. In order to "ground" the work, and provide a concrete physical presence; much as a body in a bed would. Cooke poured a streak of molten tin over the central plywood framework of the piece, stating that the resulting form the cooled tin took was " so what a dream is like" in the fact of the unpredictability of it eventual form. The work is named for a line extracted from a poem which itself references a settle bed, namely, The Settle Bed (Trunk-hasped, cart-heavy, painted an ignorant brown...) by Irish poet Seamus Heaney.

In relation to her work Un-English (2014), Cooke offered her thoughts on this work during a recorded conversation with curator Stephen Freer, at the nowherespace gallery, where this work was first exhibited. Cooke states that, the five shaped pieces are based upon the shapes of a variety of different vehicles ( an E-Type Jaguar, Fiat 500, Renault 4 van, VW van, Citroën DS, respectively) that have, within this work, "morphed into tools". She notes, that she had been simultaneously working on both Un-English, and a ceramic piece which references a spade which "bled into" this work. The idea being, to produce work based upon everyday objects which are useful and "transcend place" and that are, "Objects that can be moved anywhere". She continues by suggesting that, living in England as a non English person, exposes a layer of "peculiarity" within the culture which the native population are unaware of. Cooke also notes that this work in particular is more "intuitive" than the other works in this collection, as it required less active thought and was a more "relaxed" creative process.

In the work Stack no 1-5 (2014) the physical form of books themselves provided inspiration for her work. Stack, was comprised of a series if drawings/collages in watercolour, gouache, and collage on paper resulted from an attempt to draw every book that she owned. During a conversation between herself and Stephen Feeke discussing this work, Cooke references the twelve volume novel series A Dance to the Music of Time, by British writer Anthony Powell. In particular, she mentions the novel, Books Do Furnish a Room, stating; "...that is so true. Even as a young teenager. They do. You cannot have a room without books." She concludes, " I don't know why I'm talking about that. It's just sort of there. It's part of me...books had to be part of my world". Finally, this collection of works was completed by the work Skyey (2014), a series of 20x 20 cm block prints on paper.

New Work at RAUMX (2017)
Taking place between the 28th of April and the 6th of May, 2017, this show was comprised of three sculptural works (Like a Laughing String, Husbandman, Before me Floats an Image) alongside a range of watercolours and preparatory sketches. These works were the result of the artists interest in tools, both the objects themselves and their application. In particular, Cooke notes that the way in which tools are used produces "marks of possession" and act as a method by which people can "extend" themselves into the world. In this way, she notes, acting in a similar way to language.

Husbandman, (2017) is a wall based sculptural work composed of six planks of walnut wood shaped to the exact dimensions of a range of 'Slanes', spade like tools traditionally used in the cutting of turf or peat. this work, as with it's companion pieces Before me Floats an Image, and Like a Laughing String (2017), were the product of Cooke's interest in tools as a means by which we might restructure the world around us. Cooke stated that the later mentioned work, a construction of limewood, plasticine, concrete brick, and string, moves in a space which considers the gap "between thought and action".

Before me Floats an Image (2017) a work crafted from plywood and gloss paint, reconstructs the marks left visable in the earth by a 'slane', a tool used in the process of cutting turf. The artist notes that each area of Ireland had, at one time, its own version of this tool, the marks it made in the earth, therefore, also being unique to that area.This work in particular, being inspired by an old photograph Cooke discovered showing the scars in the earth left by the slane in action. Cooke states, that these marks "imply a residue of possession" and are " ...the objects of an act of thought..." . They assert a clearly defined division that denotes both a definite physical barrier whilst simultaneously "hinting at the unintelligible" .For most people the outcome of an action is what is important. However, this work is about constructing something that articulates the indication of a mark. In so doing, the significance of the action becomes disrupted, its intended outcome secondary, and its suggested implementation forces one into positing the question, ‘what made that and why?’. Cooke notes: "Tools are both contrived and used for extending the force of man onto something, much like language, and the resulting marks of action that they can leave behind imply a residue of possession." "A spade is used to dig a hole and to thrust your way into the earth. A shovel moves something from one place to another. It used to be that every region in Ireland had its own shovel and spade makers, and each design was used for a particular place at a specific time of year. Some regions had as much as 250 different types of spades. This is a fascinating image of affinity with land and the considered craftsmanship of the tools people used to work it."

Style and Themes
Stated in a promotional video for the Norther Art Prize 2011 that she collects a wide range of items and images which she keeps in her studio from which to seek inspiration for her work.

Cooke’s work comes out of a curiosity for the world around her and. Cooke has often noted a range of interconnected themes which she regularly returns to in her work. These include (but are not limited to):

Literature/Language
Similarly, Up Quark (2010) referenced the naming of the fundamental element of the nucleon, the Quark, by the physicist Murry Gell-Mann which, in turn, references lines from James Joyce’s, Finnegan’s Wake. The content of the novel Jane Eyre by Charlotte Brontë has provided inspiration for a number of the artists works. Cooke was inspired to create the work in response to her move to West Yorkshire in the early 2000's and a subsequent visit Haworth where Brontë lived and worked. The colours within the work Folly, for example, are said by the artist to represent the "passion" of the titular character for her suitor Mr Rochester. A Heterogeneous Thing,

Craft/Artisanship

I think that ultimately I am a maker... it’s still important that there is a sense of the artisan’s hand in a work... "

I recently read an interview with the architect Herzog and he talked a lot about ornamentation saying that he sees it as a reflection of the intricacies of the human mind, which is so true. We need the decoration and ornamentation that comes out of craft in our life as a way of understanding and marking our place in it..."

"...I'm very curious about materials and artisanship in general." Sarah Brown interview

"There are elements within what I do that can be quite obsessive, when a lot of time goes into something: whether it's my time or someone else's time, and I think that comes back to craft, to the hand of the artist, where time becomes an element.Working with craftspeople, table work in Nostos.

Family members Believes in a close association between fine art and craft. Had both a ceramicist and a weaver in her family. Stephen Freer interview 26:07

Texture of wood

miserable object

Identity
Cooke’s work often incorporates themes of identity, both on a personal and cultural level, Cooke herself stating that her work often includes an autobiographical element: "...not autobiographical in the sense that it’s about me, but it comes from my own experience." An example of this being demonstrated in her work "21 Balls of Clay Dug from a Field in Ireland". In this work, Cooke proposed that she was "inventing a Jewish-Irish archaeological history" as a response to her (and her families) experience of being Jewish in Ireland. Likewise, in a conversation with Stephen Feeke during her show at the nowherespace Gallery in London (2014), she notes her interest in the idea of the diaspora, and how that relates to " these pockets of people from all over who are connected through a culture" and how, "It never stops, it's always happening".

The work entitled Folly was a "tongue in cheek" reference to the incongruity of the artist's Jewishness and the Christian influences found in the architecture (particularly the follies seen in the grounds) of Bretton Park, where the exhibition Overlay, which this work was a part of, was held.

Cooke suffers from the neurological condition Synaesthesia which has played a role in her artistic output. Penelope Curtis notes in an interview with Cooke in 2010: "...Cooke has been so strongly marked by seeing colour – her synaesthesia consists in remembering spaces in colours, or seeing words and even letters as coloured...." . One of the works exhibited at Leeds Art Gallery in 2011 as part of the Northern Art Prize, Colour D makes particular reference to the artists experience of synaesthesia, the work consists of a bronze casting of the combined scrapings from her palate, which was then painted in the shade of a light greyish-blue which references the colour she experiences when listening to the musical note D.

Sense of place
Cooke often demonstrates, "an interest in the emotional and historical significance of sites and objects". Her work is often created with the particular setting within which it will be first place in mind. For example, the work Ballroom (ornament), first shown at the Henry Moore Institute (HMI) considered the Victorian ambiance if the gallery in which it was to be shown, Likewise, during her show at the Yorkshire Sculpture Park (YSP) near Wakefield, England. Clare Lilley, curator of the Wakefield show, notes; "In that sense there is a distinct relationship with the gallery, both with its architecture and with its context in the Bretton landscape..."

Plans of homes

Peter Stead house

Feeke interview " I like the layering of ply, it reminds me of The Princess and the Pea." (nostos interview natalie rudd ignorant brown plywood used reference the levels of bedding in the story.

Selected solo Exhibitions
2017 New Work at RAUMX, London

2014 Nostos at noshowspace, London

2010 Holden, Huddersfield Art Gallery & The Artists House, Roche Court, Wiltshire

2006 Overlay: Sculpture & Drawing, Yorkshire Sculpture Park

2003 Ballroom (ornament), Henry Moore Institute Leeds

1992 Sliced, City Arts Centre, Dublin,

1994 Two Worlds, Green on Red Gallery, Dublin

1990 Beyond Reach, PS1 Contemporary Art Centre, New York,

1988 Salt Reading, Belltable Arts Centre, Limerick

Making A Dream, Project Arts Centre, Dublin

Selected group shows
2018 MAKing Art: The DRAWing Exhibition at Draíocht, National Collection of Contemporary Drawing, Limerick City Gallery of Art, Limerick, Ireland

2017 Neo Geometry: group painting show, NewArtCentre, The Artists House, Roche Court, Wiltshire, U.K

2016 Table Top Tableaux, Dean Clough, Halifax, U.K ,

Resonance, Beverley Minster, U.K ,

Process and Practice West Yorkshire Print Workshop Gallery, U.K

2015 Light Falls, Green on Red Gallery, Dublin, 20:20 Touring Print exhibition , Thought Positions in Sculpture, Huddersfield Art Gallery

2014 Conversations around Marlow Moss, & Model, Leeds, U.K

2012 Exchanges around construction, Derwent London Gallery, London, U.K

2011 Northern Art Prize, Leeds Art Gallery, U.K

2008 Prospects and Interiors, Henry Moore Institute, Leeds ,

Open Window, St James Hospital, Dublin

atp08 Public Libraries on the Transpennine Route Between Manchester & Leeds

2007 Artfutures ’07, Bloomsberg Space, London,

Summer Show ’07, Royal Academy, London. [invited artist]

2006 The Square Root of Drawing, Temple Bar Gallery, Dublin, Ireland

2005 New Sculpture from Ireland, New Art Centre Sculpture Park and Gallery, Roche Court, Wiltshire

2000 Albright-Knox Art Gallery, Buffalo, N.Y, U.S.A

A Measured Quietude: Contemporary Irish Drawings, The Drawing Centre, New York; Berkeley Art Museum, C.A, U.S.A

David Winton Bell Gallery, Brown University, Providence, R.I, U.S.A

1999 0044, PS1 Contemporary Art Centre, New York

0044, Ormeau Baths, Belfast, N. Ireland

1998 Dark Field, Boiler House, London. U.K

1996 Model Arts Centre, Sligo, NCAD 250 – Drawings 1746-1996

RHA Gallagher Gallery, Dublin

1995 Mix, Annexed, London

1993 Fields of Vision, Trout Gallery, Carlisle, PA, U.S.A

EV+A '93, Limerick City Gallery of Art

1992 Sliced, City Arts Centre, Dublin, Ireland

1991 In A State, Kilmainham Gaol, Dublin

1990 Irish Artists in New York, Touring Exhibition

1989 Prints From the Black Church, Solomon Gallery, Dublin

1988 EV+A 1&2 '88, Limerick City Art Gallery,

GPA Awards for Emerging Artists, Douglas Hyde Gallery, Dublin

1987 SADE, Crawford Municipal Art Gallery, Cork

Irish Exhibition Of Living Art, Guinness Hop Store, Dublin

Residences
1989/90 Artist in Residence, Butler Gallery, Ireland

1988 Residency at Tyrone Guthrie Centre, Annaghmakerrig, Ireland

2017 Residency at Cill Rialaig, Ireland

Collections
1983 Office of Public Works, Dublin

1987 Dublin Corporation

1997 Camden Council

2010 Henry Moore Institute.

Publications
2015 Thought Positions in Sculpture. Dr Rowan Bailey, University of Huddersfield ,

2014, Nostos, A conversation between Liadin Cooke and Natalie Rudd. Pub. noshowart ,

2008, Henry Moore Institute: Essays on Sculpture no.59. Prospects and Interiors. Sophie Reikes.

2007, Yorkshire Sculpture Park: Landscape for Art essay by Lynne Green, Overlay, Text by Clare Lilley, Pub. Yorkshire Sculpture Park The Square Root of Drawing, CD/DVD PUB. Temple Bar Gallery,

2005, Strata, Text by Ann Mulrooney and Tim Davies,

2003, Ballroom (ornament), Pub. Henry Moore institute. Text: The Artist Calendar, Henry Moore Foundation, April-August, Sept-Dec

1999, 0044, Pub. Crawford Municipal Art Gallery, Ireland. Essay by Peter Murry. A Measured Quietude; Contemporary Irish Drawings, Pub. The Drawing Centre, New York, Essay by Caoimhin Mac Giolla Leith,

1998, Dark Field - Eastway Baths, London, Essay by Artists,

1997, An Gorta Mor. The Great Famine Commemorated in London - Pub. Camden Town Hall.

1996 NCAD 250 Drawing Pub. RHA Gallery, Dublin. Essay by Noel Sheridan,

1993, Fields of Vision - Pub. Trout Gallery, Dickinson College PA. Essay by Peter Lukehart

EV+A - Pub. Limerick City Gallery. Essay by Gloria Moure

1991, In A State - Pub. Project Art Centre. Essay by Fintain O'Toole

1990, Post Card Collection, National and International Studio Programme, PS1 Museum, New York The Irish Artist in New York - Pub. The Arts Council of Northern Ireland. Essay by Brian Ferran. Spring Board - Pub. Irish Life Policy committee.

1989, Salt Reading - Pub. Belltable Art Centre.

1988, EV+A - Pub. Limerick City Gallery, Ireland

GPA Awards for Emerging Artists - Pub. Douglas Hyde Gallery. Essay by Dorothy Walker.

Aidan Dunne and Liam Kelly The GPA Irish Arts Review Yearbook (1989/1990), pp. 186-192 (7 pages) Published By: Irish Arts Review

1987, Sade - Pub. Crawford Art Gallery. Cork. Essay by Peter Murray.

Recognition
Awarded the Joanna Drew Travel Bursary for 2017 and shortlisted for the Northern Art Prize in 2012. She has been the recipient of British and Irish Arts Council Grants and has previously been nominated for Beck's Futures, Jerwood Platform and the Arts Foundation Awards.

2014 ACE grant for the arts

2011 Shortlisted for Northern Art Prize

Nominated for

2011 Arts Foundation ‘Yoma Sasburg Fellowship’

2005 Nominated for Jerwood Artist's Platform

2004 Arts Council England Grant, Nominated for Becks Futures

1993 EV+A Open Award Winner, Arts Council of Ireland Grant

1992 Arts Council of Ireland Grant, PS1 International artist studio program, New York

1988 GPA Award for Emerging Artists

1987 Dublin Film and Video Festival, Special Award