Aleana Egan

Aleana Egan 
Element of the Stage 2017
untreated bronze
164 x 27 x 6 cm / 64.6 x 10.6 x 2.4 in 
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Aleana Egan 
patches of moon and fire 2017
steel, paint, copper, foam, canvas, silk, concrete 
240 x 130 x 98 cm / 94.5 x 51.2 x 38.6 in
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Aleana Egan, Slow Channels, 2017, card, tape, ModRoc bandages, Jesmonite, pigment, 135 x 49 x 8cm / 53.1 x 19.3 x 3.1  

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Aleana Egan A House and Its Head Kerlin Gallery 31st March - 13th May 2017

Aleana Egan 
repeating earth  2017
card, tape, filler, acrylic paint, Modroc bandage, pigment, fire back, beech and linen screen
200 x 194 x 117 cm / 78.7 x 76.4 x 46.1 in
Aleana Egan 
free drawing  2017
concrete, dyed Indian cotton, 2CV engine, Perspex box, oak, stainless steel, noil 
80 x 263 x 124 cm / 31.5 x 103.5 x 48.8 in 
Aleana Egan 
the nights are still there 2017
steel
238 x 70 x 70 cm / 93.7 x 27.6 x 27.6 in 

Aleana Egan, Vestibule, Merrion Square, Dublin 2014

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Aleana Egan  Leopards in the Temple Sculpture Center, New York January 10 - March 30, 2010

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Aleana Egan 
made boats 2017
card, tape, filler, Modroc bandage, pigment, Jesmonite, acrylic paint 
145 x 128.5 x 9 cm / 57 x 50.5 x 3.5 in
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Aleana Egan
soft prints (red)
2015
lacquered steel, powder coated steel, castors, wire
200 x 80 cm / 78.7 x 31.5 in   
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Aleana Egan
Mount Iris
2012
Steel
230 x 60 x 80 cms / 90 1/2 x 23 5/8 x 31 1/2 ins
installation view at the Douglas Hyde Gallery, Dublin, 2012
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Aleana Egan 
nature to change 2015
powder-coated steel, lacquered steel, perforated steel, stainless steel, brass, card, tape, filler, paint, dyed cotton, printed linen
250 x 410 x 200 cm / 98.4 x 161.4 x 78.7  
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Aleana Egan
the sky looks down on almost as many things as the ceiling
2013
card, tape, filler, varnish, steel
204 x 152 x 25 cm / 80.3 x 59.8 x 9.8 in 
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Aleana Egan At intervals, while turning Drawing Room 3 February – 13 March 2011

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Aleana Egan  Leopards in the Temple Sculpture Center, New York January 10 - March 30, 2010

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Aleana Egan
unproductive accessories
2013
steel
260 x 85 x 25 cm / 102.4 x 33.5 x 9.8 in 
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Aleana Egan
Meanwhile
2013
steel, fabric
300 x 350 x 150 cm / 118.1 x 137.8 x 59.1 in
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Aleana Egan When things cast no shadow  5th berlin biennial 5th April–15th June 2008   Copyright berlin biennial for contemporary art, Uwe Walter, 2008
 
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Aleana Egan shapes from life Douglas Hyde Gallery - Gallery 2 July 31 - September 30, 2015

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Aleana Egan When things cast no shadow  5th berlin biennial 5th April–15th June 2008   Copyright berlin biennial for contemporary art, Uwe Walter, 2008

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Aleana Egan
We sat down where we had sat before 
Kunsthalle Basel
20 April – 08 June 2008
Aleana Egan
A House and Its Head
Kerlin Gallery
31st March - 13th May 2017
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Aleana Egan
shapes from life
Douglas Hyde Gallery - Gallery 2
July 31 - September 30, 2015
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Aleana Egan SCULPTORS' DRAWINGS Alma Zevi, Venice 22nd October 2016 — 26th January 2017

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Aleana Egan, Vestibule, Merrion Square, Dublin 2014

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Aleana Egan
The Sensitive Plant
Kerlin Gallery
19th April - 1st June 2013
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Aleana Egan Jupiter Artland, Edinburgh 2013

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Aleana Egan
Drawing: Sculpture
Drawing Room
14 February – 6 April 2013
Drawing Room, London
image courtesy photographer Dan Weill
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Aleana Egan 
day wears
Douglas Hyde Gallery
June 1 - July 18, 2012
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Aleana Egan
At intervals, while turning
Drawing Room
3 February – 13 March 2011
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Aleana Egan 
Leopards in the Temple
SculptureCenter, New York
January 10 - March 30, 2010
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Aleana Egan
Sunday Night
Temple Bar Gallery
13 November - 16 January 2010
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Aleana Egan
When things cast no shadow 
5th berlin biennial
5th April–15th June 2008
 
Copyright berlin biennial for contemporary art, Uwe Walter, 2008
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Aleana Egan
We sat down where we had sat before 
Kunsthalle Basel
20 April – 08 June 2008
  • Aleana Egan in conversation with Dr. Sarah Lowndes
     
    This In Converation coincided with the exhibition Aleana Egan - 'At intervals, while turning', Drawing Room, 3 February 2011 – 13 March 2011
b. 1979, Dublin, Ireland
 
Aleana Egan's art is predominantly intuitive and subjective; she uses simple materials, assembled or barely transformed, to create enigmatic works that have a restrained tone and structure. She groups these pieces into installations that are oddly ambivalent; on the one hand she draws our attention to the way things look, how they settle, sag, curve, or hang; on the other, her forms and shapes act as traces or memories, and as a tentative articulation of shifting responses to remembered places or everyday moments. Gaps and absences are at the heart of what Egan does, and this is what makes her work a little puzzling. Similarly, her frequent literary and historical allusions, which are never explained, are reticent and elliptic.
 
Her works evolve through a series of stages, with each successive layer gaining a density until the final form emerges, coherent and cogent, yet insistently resisting the stamp of the finite.  Her practice is dominated by a meandering, sensuous line which carries through into the fluid way in which her films are made and suggests a condition of flux. When the line is filled to form a plane and to become a receptacle, it is still kept open, to collect snow or rain water, as in, for example, In Their Order of Appearance, 2010, made for the Sculpture Center in New York.
 
Egan often works with very crude materials such as cardboard, plaster and concrete, and her sculptures are painted with carefully mixed, very matt colours. The rawness and openness of the sentiment or idea that triggered the work is embodied by these carefully manipulated materials.  Egan does not wish to tell stories or make grand gestures but to find appropriate forms to engender psychological states and memories.
 
Aleana Egan lives and works in Dublin. Recent solo exhibitions include NUI Maynooth (2017); Douglas Hyde Gallery, Dublin (2015 and 2012); The Drawing Room, London (2011); Mole Vanvitelliana, Ancona (2010); Temple Bar Gallery, Dublin (2009); and Kunsthalle Basel, Switzerland (2008). Recent group exhibitions include CCA Derry (2015); Kettles Yard, Cambridge (2015); Vestibule, a large-scale public commission, Merrion Square, Dublin (2014); Irish Museum of Modern Art, Dublin (2013); Jupiter Artland, Edinburgh (2013); Sculpture Center, New York (2010); Landesmuseum Münster, Germany (2010); 5th Berlin Biennale, Berlin and Kunsthalle zu Kiel (2008).
 

For further information on this artist, please contact gallery@kerlin.ie.

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Aleana Egan in Cut-out Shapes in Secondhand Daylight

Marian Cramer Projects, Amsterdam

15 October – 3 December 2017

Three-person exhibition by Aleana Egan, Ulla von Brandenburg and Paulina Michnowska. Curated by Pádraic E. Moore.

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Out There, Thataway

CCA Derry~Londonderry, Northern Ireland

8 August – 29 September 2015

Group exhibition

Aleana Egan and Merlin James will both participate in Out There, Thataway at CCA Derry, alongside Stephen Brandes, Kevin Gaffney, Rana Hamadeh, Fergus Feehily and Nathan Coley.

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Aleana Egan, shapes from life

Douglas Hyde Gallery, Dublin, Ireland

31 July – 30 September 2015

Solo exhibition

In the Douglas Hyde Gallery's Gallery 2 space, Aleana Egan will present "an intimate encounter with a single new sculpture".

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Aleana Egan

Vestibule

16 May - 20 September 2014

Merrion Square Park, Dublin

Aleana Egan presents a major outdoor sculpture as part of Vestibule, a project curated by Aoife Tunney, alongside Daniel Gustav Cramer and Eva Rothschild, activating Merrion Square and its surrounding institutions.

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Aleana Egan

DRAWING : SCULPTURE

14 February 2013 - 06 April 2013

The Drawing Room, London

 

 

The exhibition explores whether the languages of drawing and sculpture are intertwined or simply parallel.

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Dukkha


'The Magic and Fantasy of Aleana Egan'

By Fridey Mickel

14 April 2015

Taz.de

"In this maddening art world, with constant convincing and never-ending quest to grasp for something only very few of us can reach, it’s wonderful to find these moments of poetic clarity, which allow you to catch your breathe and remember what we are all fighting for. Enter Irish artist Aleana Egan’s current show at Konrad Fischer Gallery in the Lindenstrasse. Offering a great bounty of what can best be described as ‘minimalist architecture’, the artist has somehow managed to strip back the implementation of objects to bring the viewer into an emotional voyage of pure aesthetic. She transforms very everyday pieces (like ladders and fabric) into sort of groupings of poetic thought; her cognitive trancing, culled from early 20th-century novels cuddle your heart. You leave with your senses cleared and re-opened, with a very wide smile on your face. Finding it quite difficult to describe what I had seen there, I was able to discuss a bit with Egan about her process and fruits of artistic grace." Read more.

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The Drawing Room

Aleana Egan

01 May 2011

Frieze

There  is  an  intrinsic  link  between  Aleana  Egan’s  sculptural pieces  and  the  literary  texts  that  inspire  their  creation.  In Character  (2010),  for  example,  the  young  Irish  artist  sought to  embody  the  bleak  resignation  of  Jen  Rhys’s  1939  novel Good  Morning,  Midnight.  More  recently,  Egan’s  exhibition  at The  Drawing  Room  was  informed  by  her  experience  of reading  Émile  Zola’s  Au  Bonheur  des  Dames  (The  Ladies’ Delight,  1883),  which  led  to  the  creation  of  two  works:  Clarity afforded  (2010)  and  Binet’s  addition  (2010).  

- Morgan  Quaintance

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The Portrait of an Artist

Aleana Egan

June 2009

Mousse Magazine

BC - The first question requires a little story. When I saw your exhibition at the Kunsthalle Basel last year, I was really caught by the strength of the big, bulky cement and plaster sculpture you built at the core of the space. It’s called Stage of Concern, an expression coined by the English psychoanalyst D. W. Winnicott to describe the point of emotional development when the infant becomes aware of an “inner” und “outer” world. And the book I was reading at the time was by... Winnicott. So let’s start from here. Was Stage of Concern a self-portrait?

AE - I didn’t consciously think of it as a self-portrait, but on some levels it inevitably is. Just now, talking about this with my mother [a former English teacher, now psychotherapist] she mentioned Winnicott’s idea of a “transitional object”, and it is interesting to consider sculpture in relation to this idea too. Stage of Concern was developed physically from very quick drawings and initial reactions I had to the Oberlichtsaal space in the Kunsthalle. I’m not sure where the form “came from”, but looking back on other works or sketches I can see its variations. It also takes on a system of its own through the measurements and the technicalities. I always wanted it to be so big that it had to be made there and destroyed there to get it out.

- Barbara Casavecchia

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