The founder of Fort Gallery on its maiden exhibition in the beautiful setting of 18 Ormond Quay Upper, Dublin …
How does Fort Gallery differ from other galleries? I’ve always held deep respect for craftspeople and artists, especially those rooted in Ireland, but I’ve witnessed gaps where commercial interests overshadowed quality, stories and the people behind the work. Makers were left without the platforms or recognition they deserve, which I want to navigate in a sincere way. Craft is something deeply personal made physical that I’m captivated with. The gallery emerged from that space where tradition and contemporary meet – between rural and urban. As architect Tom de Paor put it, I too am ‘after the silent power of material.’
How has your own artistic journey evolved? My path, I would say, has been wandered to where I have landed now. My educational background is in aerospace engineering, but I swiftly side-stepped out of that and straight into a design career due to ID2015. I pretty much knew when I was exposed to those stories, people and pieces that this was where I wanted to spend my time. Laughably, I’ve tried a lot of the disciplines, but curation and art direction is where my heart lies. Through my work with High Minds, Ómós and J Hill’s Standard, I’ve had many touchpoints with the most incredible and generous craftspeople, artists and companies that inspired me and ultimately led me to Fort.
Tell us about the inspiration behind your debut exhibition? Our inaugural exhibition, A Different Kettle of Fish Altogether, at its core is about the sensuality of craft, which is derived from the latin to mean “perceive, feel, know” – the deep, physical relationship between body, material and form. These makers work not just with their hands, but with their whole selves. The objects they produce are extensions of their attention, gestures, instincts. This is craft as an act of intimacy where the gratification of the senses is not only the maker’s experience, but the viewer’s too. To touch, see, feel: this exhibition invites the audience into a shared space where making becomes a form of connection. I hope that when we welcome people through the front doors to see the incredibly talented exhibitors, they feel like they’re seeing works deeply rooted in the Ireland of now.
Why is the setting particularly significant?: Set within a rare 17th century merchant’s house restored by Dublin Civic Trust, the exhibition merges past and present, tradition and experimentation, in a space where architectural memory meets tactile innovation. This Trust is an independent charity dedicated to preserving and enhancing Dublin’s architectural heritage through sensitive conservation and education. They collaborate with communities and authorities to protect historic buildings and promote the city’s cultural legacy.
Who are some of the participants in this exhibition? DKoFA brings together a remarkable group of 14 craftspeople, artists and companies who challenge conventional narratives around making. Exhibitors include woodworker Laura Mays, Loewe Craft Prize nominee; artist Róisín de Buitléar, founder of Ceird; knife maker Sam Gleeson; renowned glass and material design house J Hill’s Standard; sculptor Michael ‘Muck’ Murphy and self-taught wood turner Jack Smith, among others.
Need to know: Fort is a no fixed abode gallery, the intent is to travel with this exhibition around the four provinces of Ireland and take it overseas. @fortgallery
