DAN SHIPSIDES - Home
This website provides some (haphazard) information on selected projects from 1996 to today.
For those not familiar with my work here is a quick introduction through these artworks and projects:
'Pata-perception: perceive-something, recognise-nothing, conceive-anything, cognise-everything.
I’m interested in a creative and critical relationship to place, spaces, encounters and events in all and any of its potential manifestations - political, personal, topological, psychological, phenomenological or nonsensical. My work manifests as video, image, sculpture, installation, performance, sound, music or text.
The processes of my work reflect and embody encounters - adventures and misadventures in ‘real life’ which often includes climbing and mountaineering alongside my day-to-day life and an open response to the politicized landscape of urban Belfast where I live.
Within many of my works relating to the politicized and physical nature of space I’m often involved in appropriating and disturbing the emblematic phraseology and iconography of place and rolling this up together with my contemporary lived experience, which for me includes anything, nothing is off topic, but especially the phenomenologically rich activity of climbing and mountaineering alongside more mundane aspects of daily life and events of place. It is a strange brew where a song sung by my child might sit next to the drama or serenity of a mountain crag and the news of yet another rhetorical impasse at Stormont or beyond. Somewhere, beneath it all, there undoubtedly twists and turns a form of the ‘sublime’ but one which might refer to the subtle terrors of hegemony or blatant terror of political violence as much as the terrain of the vertiginous drop. As part of this approach I often collide historic periods, events and places, e.g.; the years around WW1, the 1970’s and the present; the Dolomites and Ulster. I do so with a concern for the visual, political and philosophical possibilities of meshing out-of-sync times, places and events.
For me the term landscape is expanded, spreading from the hills and mountains to include the imaged streets around me and also then to events, people, places and incidents that register in my life. All this is political, all this is present in my here and now and all this is connected.
Since 2004 several projects have been co-authored with Neal Beggs (Shipsides and Beggs Projects) another artist-climber based in northern France with whom I share a love of art, mountains, music and creative madness.
Biog. Dan Shipsides (born 1972 Lancashire, England), Former co-director at Catalyst Arts, Belfast and is now an artist based in Orchid Studios and also a lecturer at the Belfast School of Art.
Dan Shipsides was awarded the ACNI Major Artist Award in 2004, in 2000 won the Nissan Art Award IMMA (Bamboo Support) Dublin and 1998 won the Perspective award, OBG, Belfast (The Stone Bridge).He has exhibited nationally and internationally including; ACCA, Melbourne (Desire Lines), The MAC, Belfast (Still not out of the woods), Aliceday Gallery, Brussels (Vigil | Star), South London Gallery (Games & Theory), Castlefield Gallery, Manchester (Radical Architecture), Wings Project Art Space, Switzerland (Performance), Arnolfini Gallery, Bristol (Elastic Frontiers), Konsthall C, Stockholm, Sweden (Under plattan, ängen!), Platform Guranti, Istanbul (Hit & Run), Confederation Gallery, PEI, Canada (Beauty Queens), HEDAH, Maastricht (Rochers à Fontainebleau), Riga Sculpture Quadrennial, Latvia (European Space), Golden Thread Gallery, Belfast (Beta), Temple Bar Gallery, Dublin (Pioneers), Museum of Contemporary Art, Sydney (Sporting Life). Smart Project Space, Amsterdam (Endure), Melbourne International Biennial, Australia (Signs of Life).
Gratefully acknowledging the continued support of:
The University of Ulster Art and Design Research Institute
The Arts Council of Northern Ireland (ACNI)
The Arts and Humanities Research Council (AHRC)
Opinions within this website are my own and do not reflect those of funders, employers or anybody else.