Mary Kelly is the winner of this year’s Mermaid Greenstar Open Exhibition competition. The competition is organised by the Mermaid Arts Centre and is open only to artists from or based in County Wicklow. 278 submissions were received from 166 artists and Mary’s piece entitled “Alive or Dead” was awarded the prize of €5,000 at a ceremony on June 17th.

Mary holds a B.A. in Psychology & Philosophy from UCD, a Diploma in Fine Arts, a Degree in Film and an M.A. in Fine Art from the National College of Art and Design.

Mary’s work has been shortlisted for the Irish American Arts Awards to be held in New York next month (September 2006) and pieces from her colleciton are on display at the National Portrait Collection in Limerick University, Castlebar General Hospital, Microsoft Dublin, OPW Dublin, Teagasc in Carklow, Goldman Sachs in London and the National Self Portrait Collection in Limerick City University.

More of Mary’s work can be viewed at http://www.artnet.com
The Mermaid Arts Centre website is http://www.mermaidartscentre.ie

1.Congratulations on winning the Mermaid Greenstar Open Exhibition Competition. The competition drew a very large number of entries. How did you feel when you heard the news of the win?

Absolutely delighted. It was a support to my work as an artist and the nature of the work by Amanda Ralph whom I respect.

2. Your winning entry is entitled “Alive or Dead” - can you tell us a little about how this photograph came about?

I was invited by Dr. Patricia Noone to witness St. Mary’s psychiatric institution at the end of its working life with the objective of responding through my work as an artist. Dr Noone had seen my previous show The Landing in the Royal Hibernian Academy, which I had made while working under the Artist-in- Prison scheme, which is funded by the Arts Council in Portlaoise prison.

For two years I made many trips to St. Mary’s. I heard many stories from workers and patients most of whom worked or resided in the building for most of their adult lives. The complexity of changing circumstances and regimes during the lifetime of the institution mirror society’s own dreams, horrors, beliefs, prejudices and compassions.

When I started taking these photographs some of the wards were still occupied. As people left and were re-housed in the community I was left with the husk of the building, remains of furniture and the most poignant, personal and persistent marks left behind by the patients themselves. The latter became my focus of attention.

The photograph Dead or Alive was taken in the lock up ward. I visited this corner many times when occupied. One day I returned to an unlocked door and stillness. The occupancy of the ward had ended and the builders had not yet arrived. In response to the helplessness I had felt in the face of the pain I witnessed I could at least record the words and marks and acknowledge the place where these people lived their lives.

3. Have you ever mingled anonymously at one of your exhibitions to hear what people are saying about your work?

No but I would be curious to hear unedited responses.

4. You hold a BA in psychology and philosophy. Do you think your academic background has an influence on your work?

Hugely. As an artist my work is a way of observing, questioning and responding to life.

5. The Saatchi Gallery website quotes you as follows : “I am intrigued by the notion of home and place and how we instinctively strive to recreate a personal space in even the most extreme environments.”. What is the most extreme environment you have witnessed or recorded the instinct for personal space?

The notion of home and place is an essential survival mechanism for integrity of self. It is an internal space unique to each person. Whether a person lives in a castle or shed, side of a mountain or the side of the road their response or ability to reach out and order their world in the many ways we make our mark is the valiant stroke of individuality.

In my experience people can make the most interesting adaptations to their space in the most unlikely places. Initial appearances or preconceptions can be deceptive. A wealthy home can be as difficult as a prison cell. In the words of Gaston Bachelard, in the Poetics of Space, “The imagination can build “walls” of impalpable shadows, comfort itself with the illusion of protection-or, just the contrary, tremble behind thick walls, mistrust the staunchest ramparts. In short, in the most interminable of dialectics, the sheltered being gives perceptible limits to his shelter. He experiences the house in its reality and its virtuality, by means of thoughts and dreams.”

6. For a completely truthful opinion of my work I can always depend on……

My friend and fellow artists Abigail O Brien and Lucy Kelly. Heimar Schroeter another friend who is not afraid to give a very independent opinion and has an avid interest in international art.

7. 3 websites I visit regularly are:

Artnet
Circa
Artfacts

8. I would love the opportunity to photograph…..

I am currently working on my next project titled Pillars, which started with my interest in the building industry and the momentum of the process of building. The underlying dynamic has a resonance that corresponds to any creative journey. I have taken photographs, video and sound recordings on many building sites over the last two years. This work will be shown In the Mermaid in April next year.

My next phase is working with architects to record their marks, drawings and plans that reflect their aspirational intentions in the design of an idea or ideal. I would love to photograph architect Daniel Libeskind work on breaking ground Zero. Architect Frank Gehry because I love his sense of form. Shelly McNamara of Grafton Architects because I love her quote “choose whether you will pay for the lovely form or the perfect finish, and choose at the same moment, whether you will make the worker a man, or a grinder.”

9. If every last piece of your work was to be purchased by a wealthy art collector and they allowed you to buy back just one piece - what would it be and why would you buy it back?

Jenny’s Moor from the asylum series. It has great personal significance for me both in its content and its execution. It’s as near perfect for me as I’ve ever got in my work and its my touchstone of what I hold as important.

10. The biggest lesson I have learned in life so far is….

To remain sensitive and vulnerable in life without loosing yourself in the process.