Deflated Capital, installation shot at Eight Gallery, 2016
Classical orders proliferate Western cities (and indeed beyond), imbuing buildings such as law courts, banks, government buildings and academic institutions with esteem and grandeur. Despite being built since the 18th century, this ubiquitous style aims to cite antiquity, evincing a sense of timelessness and purity. Aesthetically, they function as signifiers of power and prestige. I recognise them as architectural societal introjects, bestowing inherited values onto their denizens. However, as rehashed pastiches of ancient Greek and Roman architecture, I also view them as unreliable translations. A set of arbitrary aesthetics, removed from their original meaning, around which we twine the fictions of our contemporary life. - Doireann Ní Ghrioghair 2016
Doireann Ní Ghrioghair (b. 1983) graduated from Chelsea College of Art & Design, London in 2010. Currently, she is undertaking a long-term residency at Fire Station Artist Studios, Dublin. Solo exhibitions of her work have been held at Eight Gallery, Dublin (2016) and CIT Wandesford Quay Gallery, Cork (2014). Notable group exhibitions include ARTWORKS, VISUAL, Carlow (2016); Veins, Molesworth Gallery, Dublin (2016); After the Future, Eva Biennial (2012) curated by Annie Fletcher, Limerick. She was selected three times to exhibit at Creekside Open, APT Gallery, London (2015, 2013 & 2011 curated by Lisa Milroy, Ceri Hand and Phyllida Barlow respectively). She was commissioned to create an installation, Beyond Excess, at Shunt, London Bridge (2011). She has received Arts Council of Ireland bursaries and was an award winner at Now Wakes the Sea, Kinsale Arts Festival (2013). Last year, she was selected to participate in the WARP Artist Village, Bruges (2015). Future projects include a solo exhibition at Platform Arts, Belfast (2017) and a two-person show at Arthouse1, London (2017).