аЯрЁБс>ўџ JLўџџџIџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџьЅС@ јП˜%jbjb‹ю‹ю PсŒсŒ˜џџџџџџlЂЂЂЂЂЂЂ"БТBXXXXXXXnpppppp,s “vœЂXXXXXœЬЂЂXXBЬЬЬXRЂXЂXnЬЖ,т,ЂЂЂЂXnЬЂЬnЂЂn6 :Р?ПЊ"nnББn Ь nЬУхConstant Production and Exposure EAMON O'KANE CONSIDERS HIS ART CAREER'S TRAJECTORY “A good artist has less time than ideas.” - Martin Kippenberger   Eamon O' Kane Studio House 1 2004   I came across the work of Martin Kippenberger in a book a friend lent me whilst I was on exchange in Rotterdam at the Academy of Fine Arts. I was not immediately taken with his work, but over the years began to appreciate where he was coming from and grew to like his productive energy and his attitude to making work. I was in my third year at NCAD studying Painting and Art History and had already been involved in several group exhibitions and received a few awards. I had just traveled to 15 cities in one month as part of a research project and when I got to Rotterdam I began making new work and checked out the art scene there, looking for a place to exhibit. After lots of phone calls I managed to secure a space in the government buildings for what was to be my first solo exhibition. I started getting involved with exhibiting my work very early on as I felt that it was an integral part of the process of making work and although it has meant that I have somewhat grown up in the public eye (for better or for worse) I feel that my practice would not have developed as it has without this constant production followed by exposure. I come from a family of artists which has meant I have had a lot of support for my art practice and career over the years as well as dialogue and discourse about art. I graduated from NCAD in 1996 and went on to study in Belfast on the MFA course. I decided to do this because although things had gone really well on the degree course I still felt that I needed to get into deeper into the work. I went to Copenhagen to be with my girlfriend for the summer, worked in a bar, started writing a novel and approached some galleries with my work. During that summer I received both the Taylor Art Award from the RDS and the Thomas Damman Jr. Award which enabled me to visit Italy to research new work.   Eamon O'Kane Mobile Museum Installation MCAC Dec 04 - Jan 05 Eamon O'Kane Mobile Museum Installation MCAC Dec 04 - Jan 05   The first year on the MFA ended up being a period of reevaluation and I proceeded to take apart the work I had done previously. Alistair Maclennan was my tutor and I found him to be the most insightful and inspiring I have ever had. For the MFA exhibition I had to find alternative spaces in Belfast to house the works I wanted to show. I managed to borrow a huge space in the Blackstaff Mill and was able to install fourteen large canvases there with large photographs and installation work at the art college. After graduating from Belfast in 1998 I took up a research fellowship in painting in Cheltenham where I had my own studio, a stipend and had to teach one day a week. This was invaluable experience and allowed me to develop my work towards exhibitions in London and Copenhagen as well as showing for the first time in EV+A in Limerick and taking part in the Florence Biennale. I then won the Tony O’Malley Award for painters and a Fulbright award to travel and study America. I crossed fourteen states and back in seven weeks before studying on a second MFA, this time in Design Technology at Parsons School of Design in New York. I decided to do this as I wanted to develop my skills in working with new technology and I have always wanted to be involved in the process of designing my own publications and websites. The research I carried out there has had an impact on much of my practice to date. I was able to complete five video works that I felt were resolved enough to show. In 2000 I returned to Ireland to have two solo exhibitions – one at the Butler Gallery, Kilkenny and one at the Orchard Gallery, Derry. Studying and living in New York had meant I had gone into a lot of debt I was lucky to sell a large-scale work to the Bank of Ireland and then to get a teaching position at Limerick School of Art and Design. I was able to pay off the debt in a relatively short period of time, which was a relief. In 2001 I had a number of solo shows including a show of large photos in the Fenderesky Gallery in Belfast and was selected for EV+A, the Crawford Open and was short listed for the Victor Treacy Award. I was also short listed for PS1 again – for the third time. I never managed to get it before it stopped a couple of years ago. Something that isn’t always evident from an artist’s biography is the amount of rejections you receive. I have tons but that’s part of the process. Eamon O'Kane Above Ground Art Shelter Series 2005 My girlfriend and myself decided to move to England and after a few job applications I got a full time lecturing job at the University of the West of England in Bristol. Slightly worried that my art career was going to suffer because of it I impulsively sent unsolicited proposals to two German galleries. I had been advised to try my work in Germany by Stephen McKenna, my external examiner when I was a student in Dublin, and by a number of other people since that but hadn’t acted on it. I was really surprised to get a phone call from a gallerist in Frankfurt a couple of weeks later. I met him at his other gallery in Berlin the following week as by coincidence I was going there on a field trip with 50 students. We then met up in Ireland during the winter holidays to look at the work I had stored at my parent’s house in Donegal and a couple of weeks later his gallery partner picked up a huge amount of my work in a large van and drove it to Berlin That summer I had a solo show in Frankfurt and I designed a substantial hardback catalogue of my work. Galerie Schuster now represents me internationally and I have found this representation to be very beneficial to both my practice and career. I have since had another solo show in Frankfurt and two in Berlin. Eamon O'Kane Mobile Museum Installation MCAC Dec 04 - Jan 05 My work has also been shown in numerous art fairs and out of this exposure has been picked up by other galleries in Germany, Denmark and Switzerland. It has also been bought by major museums and collectors and the income from this has allowed me to carry out more ambitious projects. I had made the decision quite early on that I was going to avoid trying to survive off the money I make from selling work as I don’t want to be tied down to a certain body of work or compromise my practice for financial reasons. I have found that lecturing although demanding on time and energy provides a good balance of financial security, access to facilities and critical discourse. Last year I did the Artist’s Work Programme at IMMA for nearly four months and it was an incredibly important experience in a lot of ways. It gave me an opportunity to probe and push the work a lot as well as produce a lot of work for upcoming shows. One of the problems with lecturing is that it fragments the week and last summer was an opportunity for me to establish a daily practice. The other positive aspect was the peer group of artists who were incredibly supportive and critical at the same time. This year I have just won an award at EV+A 2005 and am taking part in a number of group shows as well as making new work towards a solo show in Frankfurt in September. I have just been awarded a six month Rome Scholarship for 2006 and as I write this article I am in New York preparing to go to Vermont for a month long residency. I have also recently set up an artist run space with four others in Bristol called LOT HYPERLINK "http://www.lot6.co.uk/"(www.lot6.co.uk) and we have scheduled in the first year’s programme. One of the shows, ‘REMOTE’, will be my first foray into curating and will open in August. I think one of the key ways to making a go of it as an artist is persistence. Ever since I started working as an artist I have always had more ideas than time so part of my persistence is in working through the ideas within the available parameters pushing them to some sort of resolution. It’s an ongoing process. 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