Artist Talk Interviews

Catriona Leahy Talk

Reading on Catriona Leahy’s talk, to describe her primary source in printmaking that focuses on industrial arts in 17th centuries. Helps to research her approach to a particular way to study with landscape development.

Leahy’s project: “Aesthetics of Disappearance

Viewing onto a series of coloured prints, manipulated them into Leahy’s methods of ink painting that could adapt to its spiritual influence in any kinds when examining this selected factory and expanding on her wall to affect my point of criticizing its state of architectural arts.


Reviewing on her “Albatross factory”, to examine it’s origins of bring with most unnatural structures putted together in several papers used in Japanese arts, to impact its true motives can achieve since closing down and to learn from its outcome of job losses.

Furthermore to examine its aftermaths, is how spiritual arts roam its once craftsmanship like ghosts, mainly to discuss its deep layers which are decayed in the 60s and it could be accomplished in its present or future.

Leahy’s Website:

From her primary evidence of industrial arts, Leahy used a reflected portrait to produce in certain edges of shaping an imagery effect merged into their difference modern and old architectural purposes in metalwork.

Unrelenting structure:

Next up is a peculiar structure of luminous papers of “Latent Afterglow”, it has a unique detail of sparkling-arts within their inner textures of dull materials added into bright lights and which is combined in Carrera Marble/Cast Concrete to shape each of their untidy state.

Latent Afterglow:

Looking into appearances of unexpected makeups, to had a connection to natural space when manipulating their fabrics of resembling a glowing/geometric methods. To adapt with directions of illominis energy, as they transcended our felts of emotions and how I can adapt with decorated arts of steel textures.

From Leahy’s feedback on industrial printing, are improving on environmental arts used for perspective ways to organize with different metal manipulations and my proposal of outer structures of deep textures.

Relief in Time:

Finally to view on studio’s floor of an artwork called “Relief in Time” what it tells me of several lines in coal dust that Leahy used in freestyle space not crowded and what it helps to evaluate from a reflected London’s Underground map.

At my aftermath on Leahy’s talk, allowed her influence of industrial arts to affect on my last years technique in foam manufacturing and how I would learn to organize my future project with Leahy’s technique.

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I have always been interested in various forms of art, even from a young age. I developed my interest early on through sculpting with Blu Tack when I was eleven years old and would model figurines from films and TV programs. I had a specific interest in modelling the army of soldiers from the Lord of the Rings using Blu Tack and toothpicks for the armory and weapons. And from the film Avatar, creating Na'vi people using toothpick to create the texture and ripple effect bodies and tones.

It was in my second year at college when I decided to switch from IT & Media to Art & Design, leaving South Leicestershire College to start the B-Tech Enhanced Diploma at North Warwickshire and Hinckley College. I was granted to enter at Level 2 and worked hard to achieve two distinctions in my first year. The switch was the best decision I had made that year and it set my focus to select Fine Art at university. The only university I selected and wanted to study at was DMU, a dream come true!

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