Maria Kerin(-Walsh), artist curator choregrapher.


Welcome to my blog. It introduces some of the processes and projects that I have been involved in recent years as an independent, rural based artist-curator and choreographer, working towards sustaining a slower rural based lifestyle, through creativity that also supports autonomy and self organisation within an inter-connective model of collaboration.

My movement-based arts practice provokes and informs a translocal artist-curatorial and choreographic practice, manifesting into peer to peer networks and systems to support collaborations presently in Ireland, Estonia and Sweden, in an interdisciplinary practice without borders.

I am particularly interested in deep listening, sensing time and opening up memories through awareness/presence as an embodied creativity process and ethical inquiry, informed through somatic principles that supports my practice concerned with our relationships with nature and consciousness. For example see blog page 'Post domestic: The future is the forest". Work with Kristina Kvamme, Sweden, since August 2019, in her walking practice that links through image and text live online on Fridays nourishes this. Ongoing explorations with Rachel Sweeney through Articulating Thresholds expands this inquiry.

Since 2018 I've been working on translocal, transdisciplinary collaborations in experimental heritage, with Professor Bodil Petersson of Linneaus University and members of Experimental Heritage network Sweden. This has led to us forming Karum-Creevagh, a group of artists, archaeologists and ecologists from Ireland and Sweden, concerned with our future.
See www.experimentalheritage.com for a detailed archive.

See Outrider Artists.wix.com for more info on local rural networks and cross-cultural sharing.
For other online images, see my kind partner Michael Walsh's documentation of my work:

https://issuu.com/michaelwalsh/docs/10_days_embodied_creative_process_d


https://issuu.com/michaelwalsh/docs/future_domestic_2013_visual_diary


https://www.youtube.com/watch?v=TSYpxRfzKp0&t=4s


Should you wish to contact me for more information please text 00353877711033 or email: kerinmaria@gmail.com
See www.thefloatingvillage.net for collaboration with Dr Rachel Sweeney as part of The Floating Village eco-somatic practice since 2019.

Friday, December 6, 2013

Outrider Artists European Local Arts Proposal


Outrider Artists Curators Maria Kerin and Fiona O'Dwyer (right to left) with Outrider artist Sarah Fuller


Outrider Artists  is a form of relation based on friendship, hospitality and generosity practice including artists based in rural North Clare, supported by Clare Arts Office. We have a history of conflation of domestic & public spaces,  situating that impulse in a historical and activist trajectory. 

Our work takes the form of Episodes, social choreographies that merge domestic & public space. Outrider Episodes are organised around transnational movement & immaterial exchange with freinds like Liquid (Estonia), MoKS, (EStonia), SERDE, (LATVIA). We have had residencies and participated at international presentations in Estonia and in seminar workshops with SERDE & MoKS in Lithuania.

Our experience of hosting residencies/workshops/collaborations with artists from abroad has presented a mirror to our own art practice and it has also developed into exhibitions abroad,  developed collaborations with transnationally talented artists and pitched us into a position to help us sustain their rural art practice.

Outrider Artists now wish to continue that positive creative empowerment through collaborating with Moks and SERDE. We have chosen shared work-shops & public presentations as the formats to explore the theme & acquire new artistic skills through the process of making.
 
Fiona O'Dwyer and I curated an experimental creative research event in my home in Monreal North, Ennistymon, Co. Clare, for a week in May, entitled 'The Future is Domestic!' 

The title for this gathering  is The Future is Domestic! part funded by European Local Arts through the Arts Council, and we were invited by our partners The Clare Arts Office. 

The unique creative team of Evelyn Muursepp and John Grzinich, from MoKs, both internationally recognized artists in their individual fields of drawing & sound have constructed a workshop that also has a level of social consciousness to be explored in its realization.
SERDE  are offering two workshops; gathering herbs and making vodka. In a country where alcohol abuse is rampant, this workshop should provoke intense discourse. Techniques of distillery and fermentation are new to Outrider artists and welcome as new methodologies for making & creating. Herb gathering has obvious rural connotations.

Outrider Artists, Moks and SERDE will give public presentations at the beginning & at the end of the week, in the Courthouse Gallery, Ennistymon, to a public audience, so to widen the contact opportunities with other members of the locality.

Thursday, December 5, 2013

Experience of being in a creative 'hot house', Cavan, March 2013.



Extracts from the video performances that I choreographed in response to process being devised in Liquid Art, Cavan, participatory with all others using embodied movement and a score composed by me in response to Mauras brief.

The 2 week residency in a creative 'hot house' in Coote hill, Co.Cavan proved to be a very dynamic, challenging, rewarding process. The concept of "EMBODIMENT" was not clear to the others involved and took 8 days dialogue to explain what needs to be experienced. However, this was personally an amazing learning curve, how to communicate and share knowledge with peers and a deep journey for all of us. I also learned how the fine line of 'group' sharing while living together can be a strength and a weakness, a delicate balance in making each other comfortable and reaching a consensus in democracy while trying to maintain critical dialogue and rigorous exchange in debate.
But the food was delicious and much needed with the snow falling outside and the damp darkness never too far away.

Here is the tex from the blog ; Liquid Art, Cavan


Liquid Art, Cavan

The Time Line

Day 1.
9th March 2013

We the five invited artists arrived between 2 pm and 3pm in Maidebawn at our “hothouse” residency. Catriona O’Reilly The Arts Officer had earlier left provisions to welcome us.  The fire was light. We shared a meal that evening, an offering cooked by the first of us, as we agreed to take turns cooking the dinner in the evenings and each funded an evening meal during the first weeks. Much talking and sharing established the positive atmosphere amongst our chatty enthuasistic crew.

Day 2.
Deep discussion:
This was where we sat down and pulled apart why we were here for the two weeks. We had questions about art itself and we also discussed and shared our own practices in our own engagement with the community.
Books on specific topics relating to our different practices were shared out.

Flexible working structure: We came together and formulated a starting point, starting at 10am every day with a meeting, making a commitment to the process, and then let the process take over and that engaging continued into the late evening.

Day 3.
Introduction to Embodiment:
Looking at embodiment was new for all of us so we had to discover what embodiment meant to each of us in our different practices. We also explored movement through physical. We needed to start first with our bodies and get a sense of this practice in the body with particular emphasis on movement. This led to engaging with the process through materials.

We were also visited by Emer Coveney, social inclusion unit and Catriona O Reilly, arts officer, Cavan.

Models of practice:
What is a box?  We looked at other models including the CREATE collaborative performance box. It appeared to be a prescriptive pack that teachers or groups might introduce but we found it too prescriptive for our process. This opened up a full discussion about labels on artists, modes and other approaches to performance, collaboration and public spaces.

Day 4
March 12th

MAKING Connections: “ Giving a chance for awareness, presence, trust.”

We began to explore where we meet and the materials and the spaces that we use. A wide variety of materials were introduced.
There was a deeper discussion on shared knowledge, shared skills and reflection on how we might work together.
“Process, working source of creativity, new knowledge through making, developing creative techniques and re- moving barriers.”

Liquid art tool kit offering support not solutions.
We discussed what are the barriers to creativity.

“Embodied expression, exploring between the body and being embodied. The body is the source of embodied expression, there is a flow between the two and only in your presence”.

“ Awareness, Receiver, your embodied expression, transference, clarity- inner and outer. Truth”
Go in to come out.
Not a group identity-
We found that we were not to focus on group empowerment but self- empowerment. We weren’t following a group identity or agenda but we were individuals collaborating together to self-empowerment which would feed back into the group. “Last thing we need is a closed circle as it topples in on itself”.
“Be true to your own artist”.

That evening we went to Cootehill library and started uploading the blog. The house had no internet coverage and very random mobile coverage. So spontaneous uploading to a blog was impossible. This changed the dynamic of this blog.

------What is best practice?
Knowledge and creativity
The witness chair
Step out of the group, step back and witnessing

Within yourself, within the group, absorb – experiential and can be educational
Learning comes through process.
“Define it not confine it”

How can we look at work and find embodied expression in our own work?

Day 5
March 13th
Field trip to Sligo.
We drove altogether in one car across the boarder sharing stories of place and history, grounding us in the locality. We visited the Model Art and Niland Gallery. We met other many other artists that were also visiting.  The journey to and from was a way to open up and get to know each other. When we came back we shared our response to the art and the space in the gallery and it opened up a critical dialogue on art and curatorial practice.  The conversations we had with the other artists there led us to discussion on the day to day realities and the survival of artists in retirement and pension problems.

Day 6
March 14th

Significant shift in consciousness from analysis to experiential, embodied process.

Patrick Hall’s painting in the Sligo gallery inspired an art work to made in response to it and this in turn fed the process. Up to this point we were engaged in analytical discussion.
But this shift required us to clear the space we working in of all text from the walls. At this stage the embodiment process led us for a need for materials, as an embodiment expression through the materials.

“Releasing a lot of barriers to making, letting go of outcome and allowing a spontaneity.
 Trusting materials and each other, this in turn led to a more experiential embodied process that became the Process”.

As we experienced this, we became more confident in making, trusting the Process and each other. We became more open to seeing possibilities, the links started happening,  this was the turning point in our approach; we began to connect.
The more we experienced a sense of ourselves though embodiment, the more we discovered the hidden links and connectiveness between all our practices.

GAMES:
Another artists’ response was to outline the structure of a game which was dealing with
Interactive, performance space, trace, chance encounters and public space while being sites specific  and could involve, performance, object and sound.
The games were dependent on visual, non verbal cues.

Day 7

15th March
In the making of this game outside we discussed:
What is the difference between a cue, a direction and an instruction?
It also raised questions on our senses, our sense of space, smell, transitions in space.
It brought up for us exactly what we mean by awareness, mindfulness and presence.

Participatory experiential:
The engagement part of the game is participatory experiential and with a “release” a change in consciousness is possible.
“Sub-text of the game, how to see layers of the game, using a cue to give us a chance to be embodied”.

“No judgement, remove any barrier, trusting the artist will respond”.

“The site, artificially, sound, model, started outside, practical experiments led to technical solutions.”

It raised questions about spatially how to engage with public space.
“How can we reach embodiment in this game process?
Where is the intersection of embodiment with the public? How do we do this?”
Cue as a point of transition?
We questioned where game participants meet us through embodiment? Is it an embodied facilitator or providing tool for embodiment?

Day 8

16th March
Breaking negative patterns:
We discussed the collective journey and our own journey, honouring your self, honouring the group but putting your own needs first and yet working within a group setting. Issue around space and boundaries were highlighted, including owing your own space.

In the late afternoon we attended an exhibition entitled Storm Children by Pawel Kleszczewski and Kasia Zimnoch in the Eden Gallery, Cavan County Museum, Ballyjamesduff and this gave us an opportunity to meet some local Cavan artists and invite them personally to our open hot house on Thursday 21st March.

Day 9
17th March

A reflective day for internal personal processing of the work to date.
We shared St. Patrick’s day celebrations with our Estonian artist at the parade in Cootehill.

Day 10
18th March

Using text we looked at our own individual voices within the group and how words could lead us in.
There was a shift on our use of language within the process from stilted formal “essay writing” language to discovering a personal voice through the process of exploring approaches to script. “Creativity coming out through the use of story telling.”

The challenge of how to take a narrative and interpret it through another media was explored.
This resulted in puppet making, participatory performance through the use of score and framing it with video. 

Day 11-
March 19th

We started the day with a discussion on the history and legacy of embodiment and where it meets new media and framing.
Practitioners of embodiment included Bonnie Bainbridge Cohen,USA, Joan Davies, Ire, Marian Woodman, USA, Marian Dunlea, Ire, Julia Kristeva, FR,  Merleau-Ponty, FR.

A discussion followed on harnessing creativity through engaging with embodied process and technique.

Day 12
March 20th

We started the day participating in another form of embodiment, a grounding meditation.
We reiterated our commitment to the process as opposed to focusing on the outcome looming over us i.e. an open presentation on the 21st and  Cavan TV recording. This was a very practical test of sustaining an embodied presence despite an external requirement for a public outcome on Thursday. People continued on their personal journey of responding minus the inner critic and making work. 

Having decided that we are not making new work for Thursday’s public showing, we then had the challenge of how do you retain and present the process?

How could we ensure our two week process was visable to visitors?
How do you invite them to interact with the process itself?
How do you use a house/domestic space to show work?
Could the space lend its self to the natural journey of the work?
How do we invite participants to move through the house without specific directions?

Through our discussion in the late evening we were very keen to be true to the work and facilitate “authentic access” to the different strands; text, visuals, photos, materials, video, live performance, finished and ongoing work.
By opening the house we wanted to create a warm experience, as a point of meeting for the participants. We decided to provide a blazing fire, tea and cakes and laid out the work to encourage people to wander through the space.

Day 13
March 21st

Rising early we all applied ourselves to the tasks required to open up the house.
We did a last session of embodiment as the  Cavan TV crew arrived.
Going through our time, the description of the process flowed for camera. As we waved goodbye to the Paul Cox of the Cavan TV crew, we were at the door to welcome artists who included those who we had met at the Eden gallery the week before. The house filled with people and was transformed into a warm buzzing space. Every room was alive with conversation.
The visitors were very open in engaging with work and gave lots of feedback.
We were on hand to answer any questions about the process, even the recipes.
Our own embodied process continued through the taking of polaroid shots and displaying them on the time line. This provided a point a conversation, framing the meeting.

Day 14
March 22nd

We continued with our process of meeting and we reflected on the previous day. Discussions centered on what we would upload to our blog.
We also talked about the follow up, where we go from here with the work, our own personal experiences of the shared knowledge.
We concluded with taking care of housekeeping and gathering up the materials for departure and closure.









Monday, February 11, 2013

Liquid Art, Cavan, European local arts programme


As part of the European Presidency, I will be working with artists from Cavan and Estonia in a "hothouse" research residency entitled Liquid Art- for 2 weeks this March in Coote Hill, Cavan.

See http://www.artscouncil.ie/en/wide/local-arts-europe.aspx
 

Images from Meeting Marks participatory performances

.


Heli Kohv participating with Maria in 'Meeting Marks"


Indrik , curator of Painters Union Gallery partaking in Embodied Creative Process



Ashes from performance drawing with Marge Laast via Skype




Participatory performances in Estonia


Performance with Evelyn Muuserp. MoKS, in Tartu Centre for Creative Industries

Photos: Michael Walsh

"Meeting Marks" was an extraordinary personal creative time- After 2 weeks and 11 performances in Tartu Centre for Creative Industries, Estonia,
the photographs by Michael Walsh seem to be the art, the work arrived at through the process of Embodied Creativity.

Artists involved include:
 Fiona O'Dwyer, Outrider artist, Ireland.
 Marge Laast, Liquid member, Tallinn (Skype contact)
Kasper Aus, choreographer, Tallinn,
Heli Kohv, Ballerina, Tartu
Liina Raus, Curator, Kalidascope, Tartu.
Jaan Ulst, choreographer/dancer, Estonia
Siim Angerpiik,  Rahva Museum, Tartu
Karlote Undrits, aged 10, audience who wished to participate
Evelyn M¨üuserp, artist/co-ordinator, MoKS, Mooste, Estonia
Andri Ksontonfontov, Sirp reviewer, Tallinn (Facebook contact)
Kristin, graphic artist in Creative Industries Centre who asked to participate
Miriam McIlfennick, poet, Tallinn (Skype contact)

I am deeply grateful to them all for sharing in the process and to Michael Walsh for witnessing the art through his photographs.


Friday, January 18, 2013

Estonian Review of work

"Meeting Marks" exhibition in Tartu


Maria Kerin and friends: MEETING MARKS
Embodied Creativity Process: live performance each workday 1:45 pm Tartu Centre For Creative Industries January 19th – February 2nd 2013
Over 2 weeks in the Gallery Space, Maria Kerin will develop an exhibition entitled “Meeting Marks” using her Embod- ied Creativity Process: engaging with 10 Estonian artists and writers and responding through embodied movement with mark-making and framing the response with new media.

Embodied Creativity Process


EMBODIED CREATIVITY PROCESS

The concept offers a structure to stimulate personal creativity by using
·      embodied movement (meditation, mindfulness, groundedness, awareness)
·      exploring materials (ashes and tracing paper) in the stairwell space and then
·      frame through new media (internet/smart phones) this personal creativity as a channel for this creative experience.


The Workshop:
In devising the Embodied Creativity Process Maria Kerin combines 3 different creative disciplines: Fine Art, Contemporary Dance, and New Media, devised from her 14 years of a professional trans-disciplinary art/dance practice. Maria uses a specific combination of these areas as tools to access embodied creativity, essentially the source of our individual creativity. By offering specific skills and techniques in embodied movement, art making and new media blended together, these tools support the making of art specific to each individual.

The Process: By bringing awareness into the body as a creative organ itself, as well as the mind, and linking the inner being with the outside space, this supports the person exploring and responding creatively. This is trust based on inner listening, a fully experiential approach bringing us beyond our habits and cultural constraints.

This requires relaxed concentration and inner silence, guided listening and gentle movement. Awareness activates the sense of deep presence through grounding the body. This focus and sense of self supports people in the “unknown space”.
Ashes and tracing paper will be used for these sessions for creative mark-making.
The outcome is then framed by new media that stimulates and reveals its own process of creativity, unique to each participant, be it smart phones recording the image/space/movement, documented for internet web sites or blogs or even live internet coverage directly to an audience.

Furthermore in this form of intersection working with other artists, where we decide to meet others, the outcome is not collaborative but offers a chance to co-align, each retaining personal autonomy and independence, welcoming an unknown outcome.

Workshops are available to experienced creative individuals and for groups (visual arts and performance artists, 3rd level students, dancers, musicians, choreographers and film-makers). Please wear loose clothing and bring some kind of recording devise - mobile phones, sound recorder, laptop and video cameras. Movement is minimal, open mind essential. All welcome.