‘Art is one of the greatest tools we have as humans to convey our unhappiness, our grief and our feelings of injustice, loneliness and unfairness. It can also be our greatest tool. It can, in a Brechtian way, be a sledge hammer that can shape the very world in which we live. As an artist I am aware of the power of such tools and of their responsibilities. As an artists, living with an anxiety disorder, my artwork is fuelled by nervousness, and by a life lived “on tenterhooks”. It is a fraught existence of blessings and curses. The latter, a paralysing experience of depression, obsession and compulsion, but the former, fed by the latter, enables me to make compelling artworks, that hopefully go to the very core of what is the human condition.
When working on a project such as Silent Moves, I was keenly aware of the idea of living day-to-day with frustration. Not just for myself, but for my collaborating artists of Scannán Technologies and The Ridgepool Centre. As human beings, life can be a challenge for any one of us, but those of us living with a disability face the added stress of living in a world that is not entirely equal.’
Aideen Barry, lead artist.
‘Art at its most powerful had the opportunity to make things public, and Silent Moves brings to bear subjects that are troubling in their simplicity. What does it mean not to have the choice to love and have intimacy in ones life? What does it mean to have the choice to make the wrong decision, in the case of Silent Moves, the choice to fall in love with the wrong man.’
Rosie Lynch, writer/curator.