My practice can be defined as expanded print, I incorporate sculptural elements, film and installation. I use a combination of low-tech and analogue systems of production along with traditional and experimental methods of etching, screen and transfer printing on a variety of materials including film, paper, textile, perspex and metal. These prints are often combined in 3D configurations either as a method of display, to encourage interaction or in order to film and animate.
I live and work in Dublin and am a member of the Graphic Studio Dublin (GSD) since 2010. I graduated from NCAD MFA in Fine Art in 2020. I am also a practicing paper conservator and have an MA in Conservation of Fine Art from the University of Northumbria, UK. I have worked in a number of museums and galleries in the USA, UK and Ireland and am currently a paper conservator in the National Gallery of Ireland. This background has influenced my approach to ideas of permanence, timelessness and the notion of perfection.
The embodiment of psychological experience and the nature of somatic response in an underlying theme in my work. I am addressing issues concerning how the body absorbs, holds and disguises trauma. This may be referred to as body armouring, a way of absorbing a threat to counter its influence.
EDUCATION 2018 - 2020 MFA Fine Art, NCAD 1991 MA Conservation of Fine Art, Newcastle Polytechnic, Newcastle-upon-Tyne UK 1988 BA History of Art and Archaeology, University College Dublin AWARDS 2019 Sponsors Portfolio, Graphic Studio Dublin 2001 Sharing Conservation Science, The Louvre, Paris ICCROM 1998 Japanese Paper Conservation (JPC96 + 98) ICCROM 1991 World of Watercolours and Drawings Scholarship MEMBERSHIP Graphic Studio Dublin since 2010 Accredited Institute of Conservator-Restorers in Ireland SOLO EXHIBITIONS 2017 Wilgefortis, Graphic Studio Gallery, Dublin 21 April - 09 May 2013 Surreal Estate, OC Architects, Ranelagh Arts Festival, Dublin, 13 - 29 September 2013 Surreal Estate, Graphic Studio Gallery, Dublin, 09 May - 01 June CURATED EXHIBITIONS 2017 Kennedy, R. McGuinne, N. and Ruane, A., Bristle: Hair and Hegemony, Highlanes Gallery, Drogheda GROUP EXHIBITIONS 2020 Open Submission, Highlanes Municipal Gallery Drogheda, 7 June - 11 July 2019 The Body of Empathy, Hendrix College, Arkansas, USA, 19 September 2018 - 31 August 2019 189th RHA Annual Exhibition, Royal Hibernian Academy, Dublin, 22 May - 11 August 2019 Impressions Biennial, Galway International Arts Festival 15 - 28 July 2019 Come Back to Me, MFA interim group exhibition, RUA RED, Tallaght, Dublin, 02 - 10 May 2018 10th Sponsors Portfolio, Graphic Studio Gallery, Dublin, 08 December - 15 January 2018 On the Flipside: Wendy Judge, Niamh McGuinne and Mella Travers, The Darkroom, Dublin, 19 - 27 August 2017 Impressions Biennial, Galway International Arts Festival, 17 - 30 July 2017 187th RHA Annual Exhibition, Royal Hibernian Academy, Dublin, 23 May - 12 August 2016 Urbis Felicitas, Graphic Studio Gallery, Dublin, 08 September - 01 October 2014 184th RHA Annual Exhibition, Royal Hibernian Academy, Dublin 27 May - 09 August 2013 A Natural Selection, Graphic Studio Dublin Group exhibition - National Botanic Gardens Dublin 14 November - 05 December - Greenacres Gallery, Wexford, 07 December - 18 January - The Lavit Gallery, Cork, 18 March - 08 April 2014 - Galleri Astley, Uttersberg, Sweden, 27 April - 18 May - Royal Dublin Society, Ballsbridge, 11 June - 04 July - The Hamilton Gallery, Sligo, 13 June - 30 August 2013 Strumpet City, Graphic Studio Gallery, Dublin, 11 July - 24 August 2012 Impressions Biennial, Galway International Arts Festival, 16 - 29 July 2012 182nd RHA Annual Exhibition, Royal Hibernian Academy, Dublin, 29 May - 18 August 2011 181st RHA Annual Exhibition, Royal Hibernian Academy, Dublin, 25 May - 30 August 2011 Matrix Graphic Studio Gallery, Dublin, 09 December - 29 January 2010 Home, Draíocht, Dublin, 12 November - 22 January 2010 Gold, Graphic Studio Gallery, Dublin 04 - 26 June - Galway International Arts Festival, 09 - 25 July 2010 Graphic Studio Dublin Golden Anniversary Exhibition, Farmleigh, 22 July - 05 September FILM SCREENINGS / FESTIVALS 2019 Peripheral, Merciful Hour, The Darkroom, Dublin, 10 December 2013 Shadowlight, The Poetry Project, 01 January - 30 September 2013 Shadowlight, Kinsale Arts Festival, 06 - 14 July PUBLICATIONS Graphic Studio Dublin, 60 years; the Graphic Studio Artists Cardalog, GSD, 2019 Fitzpatrick, O. Bristle: Hair and Hegemony, eds: Kennedy, R., McGuinne, N. and Ruane, A., Highlanes Gallery, Drogheda, 2017 Graphic Studio Dublin, 1960-2010 Celebrating 50 Years of Fine Art Printmaking, GSD, 2010 McGuinne, N. A History of Conservation in Ireland, Museum Ireland, Vol. 15. 2005 Reid, Z. McGuinne N. & Fields, J. The Yeats Archive: a method of identifying wax crayon, IIC Biennial Congress 2002, Baltimore, USA. IIC 2002 McGuinne, N. McLean P. & Plunkett, C. Protecting the Integrity of Impermanent Art, Contemporary Art: Creation, Curation, Conservation Conference Proceedings IPCRA, 2001 O’Connor A. & McGuinne, N. The Deeper Picture - Conservation at the National Gallery of Ireland, NGI, 1998
Delighted and honoured to have been long listed for the RDS Visual Arts Award 2020
The embodiment of psychological experience and the nature of somatic response is the underlying theme in this work. It addresses issues concerning how the body absorbs, holds and disguises illness.
Comprising three human-scale single occupancy shelters, this work aims to introduce a pro-active expectation of a cure for some complaint we may not even be aware of harbouring.
They provide an opportunity in which to shed anxiety, detach from divisive discourse and reboot energy levels. That they can be interpreted as sanctuary or prison is a point of contention and within this ambiguity lies a tension between what is anticipated and what is experienced.
Hold Still is designed to facilitate an energy transfer, not to treat an illness but to act as a catalyst. Press Pause may be experienced as a Faraday cage, a form of protection from electro-magnetic signals while the adapted cow-brush in Shed Skin references the importance of physical contact for human and animal wellbeing.
Positioned as a triumvirate, The Shell/ters represent stations in a secular pilgrimage or ritual, the purpose of which is at the discretion of each individual participant’s narrative.