C O N T A C T 

emmabrennanartist@gmail.com 

www.instagram.com/emma_breadman

 

B I O G R A P H Y 

 

I am an interdisciplinary artist who works predominantly in performative practices to include multi-media installation, moving image and collaborative processes. Originally from Dublin, I am now based In Belfast. I am a former Co-Director and Chairperson at Catalyst Arts and a studio member of Flax Art Studios Belfast. In 2018 I was awarded a studio residency with the Draiocht Blanchardstown, as a result of which I had my first solo show, as part of the Dublin Fringe Festival in 2018 with my performance work  Heed, To The Mound. In 2019 I was awarded the artist prize of the inaugural Re-vision Festival and was invited to perform at their second iteration in September 2020. I have recently been chosen as one of the BBeyond performance collective’s new commissioned artists of 2021 to present a new work to be shown as part of the Cathedral Arts Festival in May of this year. I have also accepted the invitation to perform as part of the Belfast International Festival of Performance Art in this coming March. Alongside these performances I am working towards exhibiting a newly commissioned video as well as a rescreening of another video and sculptural works in the Glór gallery, Ennis, Co. Clare in an upcoming show curated by Moran Been-Noon.




 

S T A T E M E N T 

 

At the core of my practice is the persistent draw of the material of dough. With the unyielding bond between it and I, my relationship with this material is not just physical, it is also emotional, spiritual and political. The incorporation of dough into my work holds both ancestral and sentimental value. In capturing the processes of this material, in all of it’s alchemic, formal and sensory properties, I explore the complexities of the creation of a living, breathing thing. 

 

My work is currently occupied with the cyclical processes of breathing/living and is formed upon the four pillars of; gestation, birth, life and death. My practice is moving towards a body of work specific to how these pillars relate to the female form. I am thinking about this within the context of Ireland (both currently and historically) and then more intimately where I stand amongst it, not only as artist and creator but also as a queer, Irish, female-identfying, living/breathing being. 

 

As it stands my research is at a point of looking backwards. I am investigating a pagan Ireland and the ritualistic and traditional practices that center around these four pillars. By comparing these processes in a pre-Christian era to the Ireland we know now my work is considering an Ireland that may give rise to an apostate future.