The politics of identity and the fashioning of the self emerge as strong themes in the 2024 graduate shows, writes Niamh NicGhabhann
Whether art students are carving stone or editing digital photographs, cutting patterns or painting, the work of making takes significant time, effort, courage and skill. In an era when politicians across the water might dismiss this creative work and the training that it requires (with reference to a popular cartoon rodent), one has to admire the tenacity of those students who continue to commit themselves to the slow, painstaking life of making art and making meaning. The selection of artists and makers here are just a few of the many excellent, talented students whose work has been on show across the island for the past number of weeks. It is heartening to see so many red stickers on works, particularly those noting that pieces have been purchased for state collections. This is the new generation of artists who will, we hope, continue to develop the skills that they have gained through their long, challenging training programmes, and who will continue to make the meaningful, nuanced work that we need as a society in order to make sense of these strange, painful and war-torn times. Recent research has demonstrated the narrowing of opportunities to accessing a sustainable career in the creative arts. When supports are cut, only those who can afford to rent studios, be available at the drop of a hat for auditions or undertake part-time internships have a hope of succeeding. This impoverishes us all – and any monies saved are truly a false economy when the upshot is the loss of art that reflects the breadth of social experience. Rather than attacking the creative education sector, we need to ensure that it is made more accessible than ever, for all our sakes. In an era where AI can produce glossy, slick images and text, genuine creativity, interpretation and communication will be more valuable than ever.
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