Lynn Marie Dennehy
Lynn-Marie Dennehy is a visual artist, living and working in Cork City, Ireland. She received a first class honours MA in Art and Process in 2018 and a first class honours BA in Fine Art in 2015 from CIT Crawford College of Art and Design. She is a full-time studio member of Backwater Artists Group and Cork Printmakers and a citizen in the ‘State of Print’.
In July 2018 she worked on the steering committee of Iron R 18 and later as project assistant on The River lee Project, an international iron-casting project with The National Sculpture Factory. In 2019 she worked on Iron50 and international iron casting project with the University of Minnesota, USA as a visiting project artist. She has exhibited both nationally and internationally. Recent exhibitions include ‘Beyond Survival’, Studio 12, Backwater Artists Group ’Naked Truth: The Nude in Irish Art’, Crawford Art Gallery, Cork, ‘Future Marginalia’, Crawford College of Art and Design, Cork, ‘Fantasy of The Good Life’, St Lukes, Cork City, and ‘State of Print’, travelling exhibition.
Dennehy’s artistic research draws parallels between revolutionary periods in history and our current political climate, most notably the French Revolution’s appropriation of the Louvre and its role in legitimising the revolution and neoclassical architectures role in establishing and reinforcing a cultural hegemony.
Her work has become increasingly layered with ideas of truth – how truths are formed, who establishes what is true and how truth can be concealed or revealed. We live in a post-truth world where objective facts are less influential in shaping public opinion than appeals to emotion and personal belief, a contradiction that obscures the mechanisms of power and control.
Her goal is to find a way of reflecting the contradictions within our own society through my art practice, oscillating between the irony of post-modernism and the sincerity of modernism. She does this by building contradictions into her work and revealing the making process. she plays with scale and materiality to create a deliberate disharmony within her work that allows for different interpretations – cardboard sculptures that warp perspectives, monumental prints on ephemeral materials, mundane concrete and plywood structures standing alongside precious bronze casts that, in turn, hide their humble beginnings as roughly carved Styrofoam. These contradictions build conflict both within the objects themselves and in the spaces they occupy.
By viewing Greek and Roman sculpture/architecture as an appropriated symbol of institutional authority, she investigates ways of looking at history that neutralise the agendas and strategies of the institution, leaving a space for new ideas and perspectives to exist. Through a process of manipulation, re-appropriation, reproduction her aim is to undermine our historical and emotional connection to the pristine white marble column/statue and by proxy internalised social norms, creating playful but pointed spatial assemblages that explore the cultural influences and implications of a hegemonic society.