Amy Walsh is a Visual Artist living and working in Dublin. Amy works primarily with lens based and digital media. Amy's work has been exhibited in numerous exhibitions both nationally and internationally and is included in the public collections of the Office of Public Works and the Western Health Board.

Last summer, Amy undertook a Residency in Tilting, on Fogo Island, Newfoundland. This Residency was hosted by Tilting Recreation and Cultural Society and supported by the Arts Council of Ireland.

Amy graduated from the National College of Art and Design with a BA in Fine Art Media, and received an MSc in Multimedia Systems from Trinity College Dublin. After which she went on to undertake internship in New Media at the Solomon R Guggenheim Museum in New York.

Amy is currently working as a Lecturer in Fine Art at Dublin Institute of Technology. She previously worked as a Lecturer in Multimeidia at Trinity College Dublin and as a Visiting Lecturer at the National College of Art and Design Dublin.

Selected Solo and 2 person Exhibitions

Roleplay
Market Gallery and Studios   Artist initiated exhibition    April 2009

Maximum 12 per Person
The Stone Gallery   Curated by Anne Hendrick   May 2008

Genius Loci - Sense of Place
Monstertruck Gallery and Studios Artist initiated exhibition    Dec 2007

Selected Group Exhibitions

The Potential of Vacancy @ Live at Number 8
Galway    Curated by Sinead McCann   Jan 2011

Mediafest
BlockT, Smithfield, Dublin    Curated by Cliona Harmey    Dec 2010

Look Now
Studio 6, Temple Bar Gallery and Studios    Curated by Cleo Fagan    Nov 2010

The Potential of Vacancy
St. Helen's, Dun Laoghaire    Curated by Sinead McCann    May 2010

Box id Round II
The Original Print Gallery    Invited Artist    Sept 2009

Small Works Big Picture
Mocking Bird Arts, Dublin    Curated by Cleo Fagan   May 2009

Life at the Joy Gallery
The Joy Gallery    Curated by Fiona Hanillan    Dec 2008

Art is Good For You
Mobile Blue Tooth Project, part of ISEA pre symposium series of events    Curated by Sorcha O'Brien    Nov 2008

Residence
SIM Gallery, Reykjavik, Iceland    Curated by the Association of Icelandic Visual Artists    Sept2008

In The Mind's Eye
Art of the Irish State travelling exhibition   Curated by Patrick Murphy    May –Dec 2008

Bigfoot
Monster Truck Gallery,    Monstertruck and the RHA collaboration,   Feb 2008

Residences

Artist in Residence
Reykjavik, Iceland Hosted by the Association of Icelandic Visual Artists Aug 2008

Artist in Residence
Tilting, Fogo Island, Newfoundland Hosted by the Tilting Recreational and Cultural Society Aug 2010

Collections



The Office of Public Works 2008
The Western Health Board 2006

Publications

Louise Tagney
In the Mind's Eye, Exhibition Catalogue,   Government Publications    2008, p.44,45,72

Laura McGovern
Big Foot, Circa,   Online uploaded 7 March 2008, p.3

Aidan Dunne
The Distance Between Worlds,    The Irish Times   Dec 12, 2007, pp14

Aidan Dunne
Degrees of Success at the Graduate Exhibition,   The Irish Times    June 11, 2004, pp14

Selected Awards

Arts Council of Ireland
'Travel and Training Award'   Aug 2010

Arts Council of Ireland
'Travel and Training Award'   April 2010

Solomon R. Guggenheim Museum
'The Hilla von Rebay Award'   May 2007

Arts Council of Ireland
'Travel and Training Award'    May 2007

Work Experience

Lecturer
Fine Art Department,   Dublin Institute of Technology   2009 – to present

Exhibition Coordinator
MSc Multimedia Systems,   Computer Science Department, Trinity College Dublin   2008

Lecturer
Integrated Multimedia Systems,   Computer Science Department, Trinity College Dublin    2007 – 2009

Visiting Lecturer
Fine Art Media Department,   National College of Art and Design   2008

New Media Intern
Education Department    Solomon R Guggenheim Museum   2007

Education

MSc in Multimedia Systems
Trinity College, Dublin   2005 - 2006

BA in Fine Art
The National College of Art and Design, Dublin   2000 - 2004

Erasmus
Valand College of Art Gothenburg Sweden   2003



Amy's work Reviewed in Big Foot exhibition

Laura McGovern, Big Foot, Circa, Online uploaded 7March 2008, p3.

...There are two video installations on display, Joan Healy's Mass aerobics and Amy Walsh's Are we compiling a list of the next best flavours of the year? (Philippe Vergne in 'Ice Cream', Phaidon, 2007). Both are projected onto the wall as a 1ft x 1ft screen size, thus keeping to the dimensions of the other pieces at Big foot... Walsh's piece displays a phantasmagoria of colour that consists of an ice-cream sundae as it spins rapidly on a turntable...

Read the entire review here

Amys' Work Reviewed in Genius Loci Sense of Place

Dunne Aidan, The Distance Between Worlds, The Irish Times , Wednesday, December 12 , 2007, pp14.

In Genius Loci, which closed yesterday at Monster Truck Gallery, Louise Ward and Amy Walsh offered complementary ways of exploring "a sense of place". Walsh showed extremely accomplished video pieces with related photographs, and Ward showed paintings made with boldness and sensitivity.

The video, Maximum 12 per Person , is an excerpt from the life of the Magnolia Bakery in Manhattan, where local residents and visitors queue to buy the bakery's celebrated cupcakes. There's something nice about the exaltation of these modest confections, which is surely as much about a social ritual as any intrinsic merit in the cakes, delicious as they might be. An episode of Seinfeld featured a comparable Manhattan phenomenon.

While Walsh highlights the communal in this piece, with Apartment Window she looks at another aspect of big-city life, with a nod to Hitchcock. Three video monitors present us, voyeuristically, with views into the illuminated spaces of three apartments as their occupants go about the routine business of living. Curiosity keeps you watching, and the experience echoes the sense of distance, separation and anonymity of urban living...

I took this series of photographs while on an artist residency in Tilting, Fogo Island, Newfounland during the summer of 2010.

In these works I documented the common place activities that form part of the individuals' daily routines, in an attempt to reveal the structures followed by the individual in the process of living their day to day life. Structures and systems are revealed through patterns, traces and repetition. The individuals within these photographs become part of a system through the repetition and similarity of their collective actions.

In this series of photographs, I have chosen to use the aerial perspective to manipulate the scale of my subject matter. In these images the individual appears as a tiny figure within the landscape. The subjects in the photographs take on miniature proportions referencing toy figures in a model environment. The aerial perspective used gives a sense of the 'outsider' or 'other' looking in at the world and the orthogonal view point references satellite imagery.

In my work I am interested in exploring the systems and structures that the individual in society follows. I document the common place activities that form part of the individuals' daily routines, in an attempt to reveal the structures followed by the individual in the process of living their day to day life.

In these works I have chosen to document the activities carried out by individuals on a Saturday during their leisure time.

One image dipicts a group of people sunbathing in the carpark at the Beach in Bull Island.

Another image, taken on a Saturday morning depicts a group of swimmers at the forty foot in Dublin.

This video details a group of people swimming at the Forty Foot in Sandy Cove Dublin. This is a famous place for swimming and many locals swim there every day. This video is part of a series of work that I am making documenting daily routines carried out by groups of people.

I shot this video by attaching my camera to a kite (KAP) and taking a series of still images every second. I then stiched these images together and aligned the figures within subsequent images and animated the scenes. I use the aerial percpective because the figures in the scenes begin to take on miniature proportions. The individual is no longer identified as him or herself, rather they become part of the collective.

I shot this series of photographic stop motion animations titled small stories while on an artist residency with the Visual Artist Association of Iceland (SIM) August 2008.

This work is primarily concerned with storytelling. The stories told are about everyday life in suburbia. Our everyday lives are set out and determined by the society in which we live. Social norms are adhered to, rules are followed and our day to day lives our modeled by our environment.

This work highlights this fact by focusing on the individual within this environment. By detailing the habitual actions of the individual this work tells a story that is personal to the individual but also reflective of society as a whole.

Full Title: They Should Have Bought Last Year

Ice Cream AKA Are We Compiling a List of the Next Best Flavours of the Year? 2008
(Philippe Vergne in 'Ice Cream', Phaidon 2007)

Are We Compiling A List Of The Next Best Flavours Of The Year?' (Philippe Vergne in Ice Cream, Phaidon 2007) 2008, is a video work that explores celebrity and consumerist culture. In this work an assortment of ice cream, lavishly decorated with cream and confectionaries stands in a glass. The ice cream is continuously rotating so that the viewer can admire it from every angle. It is paraded to be admired and salivated over. All the while it remains perfect and unattainable. Cream as a substance represents luxury and exclusivity, and reflects societies preoccupation with fashion, branding and consumerism.

This work relates to contemporary lifestyle in Manhattan. Maximum Twelve per Person is a two-channel video installation, the subject of which is the Magnolia Bakery and its renowned cup cakes. The famous bakery attracts a cult following of New Yorkers and tourists from all over the world. The popularity of the cupcakes is such that there is always a consistent line of people waiting to enter the bakery.

The video installation comprises two screens: one is projecting close-ups of hands taking cupcakes and the other details the people as they enter the bakery.

The name of the installation derives from a sign hanging inside the door of the bakery, which states 'Don't be greedy, there's more than enough to share, a maximum of twelve cupcakes per person in a twenty-four hour period'. The work highlights issues of celebrity, fashion and consumerism all prevalent in society today.