The Agonies of a Wrong Decision

22nd March - 7th April, 1995

A two person exhibition featuring work by Belfast-based artists Mary McIntyre and Eilis O’Baoill.

Mary McIntyre and Eilis O’Baoill’s new works will include a series of large colour photographs by Mary McIntyre and a sound piece by Eilis O’Baoill. Although these two works remain separate pieces, they relate strongly to one and other. Both McIntyre and O’Baillmake reference in their work to belonging and not belonging, the private individual within a public context.

Mary McIntyre and Eilis O’Baoill have been friends while studying together on the BA Fine Art course at the University of Ulster from 1986-1989. Mary went on to receive a MA in 1990, Eilis in 1991. Both artists have exhibited in and beyond Ieland, notably having one-person shows at The Old Museum Arts Centre in Belfast, and in Derry’s Context Gallery. Eilis is a director of Catalyst Arts. Mary lectures at the University of Ulster, Belfast. The Agonies of A Wrong Decisionis Mary and Eilis’ first full-scale collaboration.

This is a collaboration exploring duality, utilising literal, physical and ideological means.

Despite being two separate entitles, created by each of the individuals, there is occasion for overlap and incidence of intersection.

In “SAME DIFFERNCE” O’Baoill uses the minimum of visuals, two sets of small speakers placed facing each other either end of the gallery. They are on line for mutual confrontation.

When standing in the centre of the space a faint dialogue I discourse is audible, however the particular semantics of the language is indecipherable without closer scrutiny.

It was necessary to stand open eared beside each set of speakers in turn to hear that the lists of words on one hand outlined notions of sameness, whilst the other set recounted phrases relating to difference and isolation.

The exacting thin line that language treads is highlighted by It being camouflaged by the one orator in the same pitch and tone, exuding from similar formats [ speakers].

Opposing lists of words, reciting a literal polarisation. We have in a sense something sculptural, whereby space physical and literal is explored by the ephemeral nature of sound, all encompassing, with Its own partl6ular aural depth of field, yet invisible.

As a result of all these factors perhaps using the tonal differences of gloss and matt white paint for the respective accompanying texts of ‘SAME’ and ‘DIFFERENCE’ was overly literal and unnecessary.

McIntyre, on the other hand uses poignant visual indicators to prompt us to build the imagined scenario in “THE UNCERTAINTY OF THINGS OUTSIDE OF THE SELF “. Five to scale colour cibachromes of various chairs are casually leaned against the walls and pillars of the gallery, creating a corridor for 0’ Baoills’ sound.

A theatre seat, a chiropodist chair with the tools of the trade and stacked classroom chairs all evoke particular specific situations, which in turn evoke emotions and trigger memories. We can choose between comfort, discomfort, formal and informal. The viewer brings their own particular value judgment and is afforded the potential.