Louise Brady: The Beauty of Collaboration

Interpret theory, don’t demonstrate it – words of advice passed on while in college that seem very pertinent now when reading through Fearghal’s research and mulling over possible ideas for an art work.

A little out of my comfort zone, with the main area of interest in my work being film theory, the paradox of cliché, love and the disintegration of romantic ideals and Fearghal’s being representations of nature in medieval Irish poetry, with a focus on eco criticism and liminality.

But, what emerges from this for me, is the beauty of collaboration – drawing common strains of interest from areas of study so seemingly remote from your own and the pure joy of the expansion of knowledge.

At the moment, I am working on translating the given research into a design for a photography shoot based on the interaction between individuals and objects in nature. As a predominantly text and installation based artist – I took this as an opportunity to challenge myself into drawing from the poetic texts with the intention of producing something exclusively visual. It is an experiment of sorts to see if I can evoke visually, the same passion and concerns I read from the texts.

In keeping with this idea of the visual, I have ended this entry with references taken from various artists in my research and preparation for the shoot.

This is the starting point, it’s exciting to anticipate how the project may develop or change in the coming weeks.


Untitled, William Eggleston.

William Eggleston, ‘Untitled (Greenwood, Mississippi)’, 1973 -1974.

0410-034 004-A

Rineke Djikstra, ‘Coney Island, NY, USA, June 20 1993’, 1993.

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Francesca Woodman , ‘Untitled’, 1976.


Egon Schiele, Mime van Osen, 1910.


Still from the film ‘Rage’, 2009


Philip Pearlstein, ‘Female Model on Platform Rocker’, 1977-1978.

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