Grey Box Archive 3 - Dreams

I thought I would post some more pix from the so-called Grey Box Archive -- the box of small scale drawings & sketches that I re-discovered a few months ago. All the work in the box I had completely forgotten about, or if I had remembered any of it I thought I had destroyed ages ago. The following sketches are all based on dreams, all of which I remember having while in Ireland, except perhaps the last one, based on several dreams I had in Toronto in the summer of 1983.

Sketches above and below are from the same dream, about the house I grew up in Toronto. I remember having this dream while visiting my parents in Ireland during the summer of 1984.

I remember this being a very bright and chaotic dream -- moons and pink balloons seemed to be having an attic party, I came upon the party via a trap door in the floor (apparent on the left middle side of the drawing). This was another dream I had during that summer visit to Ireland in 1984.

Another moon dream, with a temple and journey to boot. Who knows. I think this was from either the 1984 holiday in Ireland or a later visit to my parents in 1987.

I know I did the next two dream collages while in Ireland, possible when I had moved over in 1988. 

The plane crash on the island did not refer to the Lockerbie disaster, though that event might have prevented me from sending this in the post as it was around that time.

In 1983 I had a series of dreams about dolphins, one of which was a group of dolphins leaping in turbulent waters. I then had a dream where figures were bouncing, foetally, in turbulent waters as an exact echo to the dolphin dream. I used these images of dolphins and foetal figures in water for many years in paintings and drawings. I started using the separated raining clouds after viewing clouds like this over the sea in Ireland in the late 80s and continued with that imagery (as gold rain) in many paintings and drawings between 1988 and 1992.

Irish Diaspora

While I was at the National Gallery just over a week ago, I also had a good look at the current exhibition The Pathos of Distance. The sculptural installation by Sarah Pierce was commissioned by the ESB Centre for the Study of Irish Art (NGI) and created as a response to international archive collections of images relating to the Irish Diaspora up to 1915. I wanted to see the exhibition myself as it is relevant to some of my own current research. 

The exhibition consisted of three rooms with central displays of configurations of furniture acting as platforms for the display of 1:1 reproductions of relevant images from the international researched archives. 

 The walls are lined with didactics, very readable in their note-like and/or quotation form.

All the images are pre-1915 and I was not totally sure of the significance of the post-1970 furniture, though I thought it may refer to the fact that the idea of Irish Diaspora is not static - emigration - "the brain drain" continues in waves, at the whim of the up and down economy of this island.

A reading-resource area was set up as a "lobby" outside the exhibition rooms.

The exhibition included a free brochure with an essay by Donal Magure, the exhibition curator, for further information on the Irish Diaspora and research project itself.

Happy New Year!

Happy New Year! And Happy Nollaig na mBan - it's "Women's Christmas" today in Ireland. This is a tradition mostly celebrated in the West and rural areas but as I lived in rural Kerry for 3 years, I always celebrate it as an anti-xmas -- we have a "Merry un-Christmas" today as the decorations will be taken down. Nollaig na mBan usually is celebrated with women having get-togethers to make up for spending so much time in the kitchen during the holiday season.

In the Dublin art world though, the new year means only one thing: Turner's watercolours are on display again, Hurray!

The Vaughan Bequest, 31 beautiful watercolours spanning JMW Turner's lengthy career, were given to the National Gallery of Ireland in 1900 with 2 stipulations: they would only be displayed in January in order to prevent light damage and that the public would never pay admission. The watercolours arrived in Dublin in a bespoke cabinet that the framed pictures slid in and out of like drawers. This picture shows what the framed pix look like on the walls.

I like didactics that give extra information. This didactic is for the two waterolours above.

The next three pictures are from the Vaughan Bequest and on display in the exhibition. They are most certainly better photos of the paintings than my in situ pictures!

Below Arvier, looking down at the Val D'Aosta towards Mont Emilius, 1836, JMW Turner (Photo NGI)

JMW Turner (Photo NGI) 

San Pietro di Castello at Sunrise, c.1840, JMW Turner (Photo NGI)

Happy Christmas!

Very busy these past few weeks getting prepared for our biggest occasion of the year. Still a few more things to do, will be spending all day in the kitchen tomorrow, but I don't think I will be posting again until 2016. So I will take the time now to wish everyone a happy, healthy and above all, safe holiday and all the best for a wonderful new year.

More Christmas Cooking - Gingerbread Cookies!

Back in 1999 I returned to Canada for the last xmas and new year's of the 20th century, spending two weeks with my sister-in-law's family in snowy Prince George, BC. Arriving a few days before xmas, my husband and I had the opportunity to help out with the decoration of the gingerbread cookies. We thought the cookies were so delicious and the family evening so much fun that we decided that gingerbread cookies would from then on be part of our annual tradition too. Though we no longer try to decorate the cookies individually (for instance, transforming the gingerbread ladies into a recognisably Marilyn Monroe or Jayne Mansfield) we still enjoy the tradition and take pride in our creations! This recipe has been tried annually and remains true.

6 cups self-raising flour, 1 tsp baking soda, 1/2 tsp baking powder

4 tsp ground ginger, 4 tsp cinnamon, 1 1/2 tsp ground clove, 1 tsp salt

1 cup butter (NB for some reason the past 2 years we have added an extra 2 oz butter as the mix seemed dryer than usual); 1 cup dark brown sugar (packed)

2 large eggs, 1 cup molasses (or treacle) 

First mix dry ingredients in a large bowl.

In a separate large bowl mix butter and brown sugar.

 

Creaming until fluffy...

Add eggs and molasses

Gradually add dry ingredients to wet mix, 

stirring after each dry addition.

Divide mixture and form into several balls.

Wrap in cling film (Saran Wrap) and refrigerate for an hour.

Preheat oven to 350 F/180 C. Roll out dough on floured surface and cut into shapes.

We use dinosaur cutters as well as Winnie-the-Pooh and traditional xmas cutters. Make the most of the rolled dough! Bake 8-10 mins.

Cool cookies -

- before decorating! The icing I use for decorating is a simple glace - icing sugar mixed with a bit of boiled water and various food colourings. I use sandwich bags with a tiny corner cut as decorating bags (discard when finished). This recipe makes well over 100 cookies (I think I counted 180 this year) depending on the sizes of your cutters. Store in a cookie tin or freeze some for later. They are great holiday treats but we also include them with our xmas gifts.

Christmas Cooking - Cranberry Clementine Conserve with Brazil Nuts

I have been very busy with college work, so am behind in my annual Christmas cooking. But finally, last weekend I got started when I saw that cranberries were available in the grocery. At this point I no longer follow the original recipe, but do everything by eye. However, if you have never made this before, follow the recipe and then make your own adjustments for flavour, sweetness, yield, etc. So here is the recipe:

3 clementines, 1 lemon

1.75 -2 cups water

6 cups cranberries (2 standard packages)

3 3/4 cups sugar

1 cup chopped Brazil nuts

I used 3 x 250 g pkgs this year. It helps to spread the berries on a cookie sheet and pick through them, discarding badly blemished and/or mushy berries. My rule of food: if it doesn't look like you'd be happy to pop it into your mouth, you don't want it in your cooking.

It's easy to just pop berries that you're happy with into a bowl of water to give them a little wash.

This year I used between 100-125 g of Brazil nuts, and just gave them a quick whizz in the food processor to chop them finely. Put in a bowl and set aside.

 It's easiest to peel the lemon and clementines before juicing. Cut the zest finely in slivers. Juice the citrus fruit and set aside.

The citrus zest slivers are added to the water in a heavy bottom cooking pot. Cover pot and cook over low heat for about an hour. Check on pot during this time as the water should not be boiling madly, but simmering and you don't want the water to boil away.

Add the cranberries and cook gently. Berries will start "popping" after about 20 minutes; stir regularly and you can help them get jammy by squishing them with a wooden spoon.

Stir in the nuts.

Add juice and sugar and bring to a rolling boil, stirring constantly until conserve thickens. A tip I got somewhere years ago is to warm the sugar before adding to jams. I do this by putting into a bowl and sitting it in the top part of the oven (in Ireland the grill part, not turned on, but getting the heat from the main oven which is sterilising the jars).

There are different ways of sterilising jars. After washing and rinsing, I bake my jars for at least 20 mins at 200 C. Primarily I am using standard jam and mason jars that I brought with me from Canada, so the lids are being sterilised by boiling for at least 5 mins while I am doing everything else. Another tip: only add a small bit of hot conserve to hot jars at first to ensure that the glass doesn't crack. When it is apparent the glass is not going to break, fill jar leaving some headspace and seal using matching lid. If using recycled jars and paraffin, let the conserve cool a bit before pouring in wax; twirl jar a bit so that wax crawls up the sides of the opening, creating a full seal.

The yield for the recipe above is about 6 fancy jam jars. The one with the tin foil, is actually a larger jar, so I would have had 6+ jars. As a matter of fact, I used more berries than the recipe called for and I could have added more water than I did, which would have increased my yield. I have found that I can add more water and the conserve sets pretty well, though the colour can lose some of its intensity. This batch that I made last weekend is quite thick, but still spreadable. It is quite tasty and tart -- a fantastic accompaniment to turkey and turkey leftovers in sambos (mmm, toasties!) but I have also given this conserve as gifts to vegetarians, it is wonderful on toast too, just used as a jam.

Grey Box Archive 2

 I mentioned a few posts ago that I discovered a box of drawings and sketches while looking for some paperwork. So I thought I would post a few more. The pencil sketch below is from the early 1980s, of the basement bar at the house where I grew up in Toronto. My parents returned to Ireland in 1983, so I was probably getting maudlin or nervous about the impending doom!

The wind is absolutely howling outside my window so this charcoal sketch seems appropriate. It is of the Irish Sea on a stormy day in either 1989 or 1990 when I had my earlier (second bout?) of living in this country.

In the summer of 1990 I returned to Toronto, and participated in a group show "Me & 9 Others" at the Orient Building at Queen & Bathurst. This is a sketch of the piece I later put together as part of an installation. It is an elongated house on a trellis. My Dad helped me build the house and the trellis (which in the final piece I painted yellow). In the final piece, you could peer in the window to see a figure surrounded by floating stars (made of fimo) and I wove live roses into the trellis, rather than scattering them; over the course of the exhibition they wilted and dried. Behind the sculpture was a large piece of paper, half left blank and the other half with an oilstick drawing of two waterspouts over a stormy sea. This piece is not documented very well -- I have a couple of polaroid details (somewhere...), The sculptural element was bought by poet Janette Platana, but that was 25 years ago, so I don't know if she still has it!

 This watercolour is from 1990 and was created in Ireland, but I don't remember exactly where -- Bray or Howth perhaps?