In his new exhibition, the Irish artist delves into the complex social behaviours and mesmerising flight dynamics of birds …
Phase 1: Silkscreen on archival paper
Who or what kickstarted your interest in art?
I lways had an interest in drawing wildlife from a young age; growing up on a farm, I was acutely aware of the animals in my environment. I saw my first murmurations on a visit to Ballynafagh Lake, near Prosperous, Co Kildare in the early 1970s. I was blown away by the amazing ballet in the sky.
The group element within flocks is very similar to human behaviour, for the most part there is a hierarchy evident which mirrors humankind.
You have been particularly fascinated by the dynamics of birds, particularly starlings and swifts and crows, which inform your new exhibition. How did this begin and evolve?
Seeing flocks of starlings in and around the farm I grew up on, I don’t recall them as pests. It was believed they were beneficial to pastures and some crops by eating wire worms, et cetera. While out hunting with my father, I can recall him firing off a shotgun blast into a starling flock that passed overhead. I noted, as did he, that not one bird was felled, or seemed to be wounded – they just carried on.
As a child, I always felt an affinity with birds and learned to mimic their calls. As a result, I was able to get their attention, so they would come to investigate and quickly learn that it was a hoax! Calling in the ‘first cuckoo’ in spring was always a very rewarding experience.
Atom: Etching
Your works are highly symbolic too: what parallels do you see between avian and human behaviour?
Titles of works are often playful and provocative, for example Pretty Bird, Delegation, Hierarchy and Tribunal are comments on the above. Communication seems crucial, when starlings funnel in the roosting area. This is said to strengthen the bond within the flock, and perhaps pass on information and recognition within groups or between individual birds. When huge numbers gather, this must have a survival value. We recognise these behaviours in our own society.
Harmonious: Acrylic archival print
How and where do you work?
I work at Black Church Print Studio and Graphic Studio in Dublin, which are both artist collectives. I work from quick outdoor sketches, as well as interpret from photos, video and memory. I work with drawing, painting, ink, and print making with copper and aluminium, or even polystyrene. I enjoy working with a variety of mediums, merging different techniques to create something innovative and surprising.
You have travelled extensively to view nature in interesting habitats, what experiences stand out for you?
A highlight for me was time spent in the high Arctic, as part of the Irish Brent Goose Expeditions, and later as artist in residence at Cape Dorset Eskimo Co-op, on Baffin Island. The most striking thing was that the island was completely uninhabited by humans – Arctic hares and wolves would approach without fear as, for the most part, they had never encountered a human before.
It was a humbling experience as I was in their territory on their terms; it was like the coming together of two worlds where we were both equal.
Graphic Studio Gallery, Dublin
Need to know: Broadcaster Ella McSweeney opened the exhibition “Murmurations” on March 8 in Killruddery Yard, Bray, Co Wicklow, which runs until May 8; www.vincentsheridan.com
SEE MORE: Artistic License: Richard Gorman
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