Roseanne’s practice looks at qualities of photography and how the photographic process affects the act of looking. The photograph as object, the materiality of that object and of the subject depicted, including an understanding held within the unknowing are among her areas of exploration.
Her approach is of a formal tradition and she primarily uses a large format camera and film. Recent work has included interventions in a space using a large format camera as a tool in the understanding of how we engage in the act of looking.
Roseanne is interested in and inspired by architectural spaces where light has been used as a creative tool to define the structure and animate the space. Architects such as Tadao Ando & Steven Holl have been an influence on her practice, as have artists such as Hiroshi Sugimoto and Olafur Elliason whose work causes the viewer to have an awareness of their own presence in the viewing space.
Roseanne Lynch lectures in Photography at CIT Crawford College of Art and Design in Cork and at Cork Centre fro Architectural Education. She is a former member of the Backwater Artists Group. Since receiving her Masters of Art by research in 2010 her experience as an exhibiting artist has expanded to include solo shows in Enschede, The Netherlands, Dublin, Cork and Belfast. Group shows Include China, California, Paris, Milan, Como, Cork, Limerick and Dublin. In March 2011 she received the first Alliance Francaise Photography award.
Her work is in the many National and International collections.
She is represented by nag Gallery, Dublin [www.nagallery.ie].
Aidan Dunne of the Irish Times says "Roseanne Lynch's meticulous examination of light in photography is admirably concentrated and reassured."
2014 to 2017 - Cork Centre for Architectural Education.
2015 - The Camargo foundation Cassis, France, International fellowship programme.
2014 - Centre Culturel Irlandais, Paris.
2017 'Eloquent Proof' Whitney Modern, Los Gatos, California
2016 'HERE', Sirius Arts Centre, Cobh, Cork
'Eloquent Proof' Nag gallery, 59 Francis Street, Dublin 8.
2016 'Eloquent Proof' Glucksman Gallery UCC, Foyer space as part of AIARG conference and CCAE residency.
2014 'Roseanne Lynch' at Sternview, Nash 19, Princes St Cork
2013 'Matter' at nag gallery, 59 Francis St, Dublin
2012 'Show', Copley St, Cork
2010 'Stella'. St Patrick's Catheedral, Dublin.
2012 'Document', Fotogalerie Objectief, Enschede, The Netherlands.
2011 'Document', Queen St. Studios, Belfast (part of Belfast Photo Festival)
2010 'Art Box' Video Installation, (solo) Dunamaise Art Centre, Portlaoise
2006 The Bodega, Coal quay, Cork
2004 'Continuum', Linenhall Arts Centre, Castlebar, Co. Mayo
1984 'My Own Photographs', Gallery of Photography, Dublin
SELECTED GROUP EXHIBITIONS
2018 'Surveillé·e·s', Centre Culturel Irlandais, Paris
Annual'. Sternview Gallery, Cork
'Le Strade Secondarie', Ex Chiesa di San Pietro in Atrio, Como, Italy
Nag off site, Dublin
2017 187th Annual Exhibition at RHA, Ely place, Dublin (Invited)
Eloquent Proof, part of New Irish Works, at The Library Project, Temple Bar, Dublin (2 person show)
Sternview Annual, Nash 19, Cork
2016 186th Annual Exhibition at RHA, Ely place, Dublin.
'Making Ireland Modern' Dublin, Cork, Galway.
2015 'Annual'. Sternview Gallery, Cork.
2015 'This Is Not My Voice Speaking', CIT Wandesford Quay Gallery, Cork.
2014 'Nag offsite' at Minima, London.
2014 'The Infinite Line [Search for the Unknown]' Tactic gallery, Cork
2014 'Beyond 2' nag gallery, Basement, 59 Francis Street, Dublin
2013 'New Irish Works' Duo, Poppincourt, Paris.
2013 'New Irish Works', PhotoIreland Festival, 'Place' Ormston House, Limerick.
2013 'Nag offsite', private home, Wicklow, County Dublin
2013 Photissima Venice in collaboration with Amy-d gallery, Milan
2012 'Noli Me Tangere (Touch Me Not)', Wandesford Quay Gallery, Cork
2012 Launch exhibition at nag, gallery, Dublin
2012 'Hidden Meanings', Yan Chao Collection gallery, Beijing, China.
2012 'Crawford 100', Wandesford Quay gallery, Cork
2011 'Art Work Embassy', The Elysian, Cork (Art Trail 2011)
2011 'Place, Space', Backwater Artist Group show, Wandesford Quay gallery, Cork
2011 'Airports for Shadows', Cross Gallery, 59 Francis Street, Dublin 8
2011 'Document II', Fort Camden, Crosshaven Co. Cork
2011 1st Alliance Francaise Award Exhibition, Alliance Francaise, Dublin
2010 'Describing Architecture', Daylight Gallery, Dublin.
2010 'Right Place, Right Space?' at the Plastic House, Dublin.
2010 'Summer Show', Rua Red, South Dublin Arts Centre, Dublin.
2010 'The Thing That Bruises You', Back Loft, La Cathedral Studios, Dublin.
2010 'Crawford College of Art & Design MA Show', Wandesford Quay Gallery, Cork
2009 Gallery 44, Cork
2009 '6 Perspectives on Light', The Greenroom Gallery, Cork Arts Theatre, Cork
2008 Haydn Shaughnessy Gallery, Kinsale, Co. Cork
2007 Cork Vision Centre, Cork
1993 '8 European Women Photographers, 'Narrden Photo Fest (Bi-Annual), Holland
EDUCATION & QUALIFICATIONS
2010 – MA in Fine Art, Crawford College of Art & Design, Cork
1984 – Higher National Diploma in Photography, Napier University, Edinburgh, Scotland
Visual Artists' news sheet. October 2013.
Review of 'NEW IRISH WORKS" Book published to coincide with Photo Ireland's group show June 2013. ISBN 978-0-9576849-0-4
"The 'New Irish Works' catalogue proves an effective way to encounter the works of photographers working in series. In this regard I was drawn back to the pages presenting Roseanne Lynch's 'Place'. The silence of these enigmatic and elusive images- minimal, geometric tonal studies- leaves space for contemplation. It's compelling and sublime work- repeated viewing of which is rewarding. I was reminded of what Ansel Adams once wrote about his take on language and the image: " When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence"
Source magazine 2013 review of Show as part of THERE THERE by Dr Pippa Little
Enclave Review, Issue 7, Spring 2013
Zhang Kechun : The Yellow River
Roseanne Lynch : Show
Two exhibitions took place at the Cork School of Architecture as part of the There There series of photography shows organised by Stag & Deer which took place in a number of locations around Cork in October.
Chinese artist Zhang Kechun’s show The Yellow River consisted of ten photographs, stuck directly on a wall facing the glass frontage of the building. This exhibition space was light and airy and gestured towards the neutral space of the white gallery cube. Roseanne Lynch’s Atmospheric Intermediacies & Activation(s) In Space took place in what could be described as the bowels of the building. The light in the space was low and atmospheric, the walls an unfinished concrete, cables and wires lay exposed. The inside of the building remained unfinished, stalled at the stage before the surface adornments were to be applied which would have brought it into the shiny world of neo-liberal hyper-capitalism. The eruption of the shadow world of creative accounting and financial speculation through the seamless surface of global capital has resulted in a proliferation of these buildings- the ghost estates of Ireland, the ghost cities of China. The materials and style of the abandoned new build the unfinished wood constructions; the plasterboard; the insulation foam have found their way into the work of many artists. A feed back loop appears to be in operation, artists absorb the aesthetic into their practice, the resulting art work then gets displayed in the traditional space of the white cube or more ironically in the ‘pop up’ galleries which have been springing up in unused buildings around the country.
Roseanne Lynch at a talk she gave at Copley Street spoke about the space itself being on show. Her photographs occupied this space in a very subtle way. She exhibited four large-scale pieces, three photographs and one sheet of aluminium. The sheet of aluminium was a dull silver monochrome which reflected back aspects of the space and possibly alluded to the use of silver based processes for capturing images in the early years of photography. Two of the photographs, which were printed onto vinyl stuck directly to the wall, were placed side by side. They depicted an architectural space, which looked very similar to the space of the exhibition; on turning my back to them I discovered they seemed to have been taken from about the spot where I was standing. The place where the third photograph was taken was harder to identify, it seemed to be a photograph of a wall, perhaps it was a photograph of the wall that it covered? The photograph seemed to picture both scars and gouges on the wall and scratches on the print itself. Lynch can be seen to be using the photographs to prompt the viewer to spend time looking at the space of the exhibition as opposed to the work displayed. At her talk she spoke about attempting to get the viewer to experience what she experienced, so the photographs are used as tools, as a way to prompt the viewer to pay a heightened attention to the space itself. Entering an exhibition space asks of the visitor that they become more attuned to their surroundings, that the perceive things with a heightened sensitivity. Do the photographs actually do anything to increase this attention to the surrounding environment? The placing of the photographs in the space in which they were taken foregrounds this question- but it would be lost once the photographs were moved to a different location. They function in this particular space, they are site specific and I’d propose that the show is an installation. Boris Groys in Politics of Installation describes the functioning of the artist’s installation.
“The installation transforms the empty, neutral, public space into an individual artwork—and it invites the visitor to experience this space as the holistic, totalizing space of an artwork.” The photographs in Zhang Kechun’s show measured approximately 24 inches by 16 with a white border of approximately one inch. The prints had a beautiful quality, they seemed to combine sharpness and diffusion, and suggested to me a particular dewy quality of skin. They invited a dual mode of viewing, to look at them as photographs, to admire the particular surface quality of the print, but then also to look through them- to encounter the photograph as transparent and look through them to the scenes depicted. A group of people wearing orange swimming hats accompany a portrait of Chairman Mao balanced on a black rubber ring, the water and sky are virtually indistinguishable from each other, the horizon disappearing into the all over washed out foggy haze; a man sits in small pagoda, atop a structure, which looks like it was built by giant termites; two men up to their chests in water approach a circular stone ruin, perhaps the giant leg of an unfinished bridge. As a viewer I can see through the picture to the scene depicted but I don’t have the ‘local knowledge’ to interpret what is happening within this scene. I can’t know if the diffusion of the light is a result of pollution, if the flooding is the recent result of global warming, dam building or something stretching much further back in time. Zhang Kechun in his statement about the work available at the show describes how in following the course of the river with his large format camera he was able “to quietly watch on the river for the season, stare at it through this journey.” The artist through the use of photography is given the opportunity to look for longer, to spend time in a particular place. The photograph is the result of this time spent watching but it again it seems to be an aid to an increased, heightened appreciation of a place as opposed to an end in itself.
Catherine Harty is a Cork based visual artist.