As we approach the March Mostra, our second exhibition of this academic year, we will be publishing a series of blogs taking a closer look at the individual practices of our seven resident artists and resident architecture fellow. Today’s interview is with John Rainey, our Arts Council of Northern Ireland Fellow.
You use a variety of techniques, from traditional forms of craft to more technologically advanced forms of fabrication. How do you think your interest in more classical forms of art, especially when considering the material available in Rome, will feed into your practice over the next few months?
Yes, my work has a dialogue with the history of manufacturing technologies and because of my interest in the copy, I tend to work with processes that are closely connected to reproduction and imitation. I most often work with slip-cast Parian porcelain, which was developed and used extensively in the British ceramics industry in the 19th century to produce the sort of forms we find in Rome on a domestic scale. So there’s a feeling of returning to the source about my time here, and a tendency to think in terms of originals, but what is becoming a particular focus of my interest is a more complex role of the copy within Roman sculpture. The displays at Palazzo Massimo have been particularly useful so far, for thinking around this entanglement of re-visitations, reconstructions and versions.
Being removed from my usual equipment and facilities is persuading me to consider alternative modes of production while I’m here. I will develop my work with digital fabrication (3D scanning and printing) which offers new possibilities for interacting with forms of the past, and disrupting the temporality and provenance of a physical artefact.
Could you tell us more about the project you will be doing for Ireland’s Biennial? Will you be developing part of this project while you are here in Rome?
I’ve been working on a commission for EVA International – Ireland’s Biennial 2018, which will open in Ireland in April, so this has been a main focus of my first three months in Rome. I’m producing a sculptural architectural intervention where I’m staging a section of a museum’s façade in ruins. It refers to the 18th century landscaping tradition of building Greek and Roman ruins within wealthy gardens and estates across Europe and has links to major themes in my work such as artifice, pretence and imitation. It’s the largest project I’ve worked on to date and part of the fabrication has been happening in Ireland while I’ve been in Rome, so it’s been a good experience of managing a project from abroad. For the March Mostra I will show some documentation of the project that reflects this experience of working remotely, along with a life-size 2D reconstruction of a section of the sculpture.
Because of the nature of the project, I spent my first few weeks in Rome visiting ruins across the city. One of the features of the ruins that kept drawing my attention was the metal collars that you find retrofitted to architectural columns at sites like Largo Argentina and the Forum, for conservation purposes. I started to think of these as another type of intervention, connected to ideas about control, staging and display, and this has started to influence new work that may feature in the June Mostra.
John’s work will be exhibited alongside the seven other resident artists in the March Mostra. The opening will take place on Friday 16 March 18.30-21.00. Opening hours 16.30-19.00 until Saturday 24 March 2018, closed Sundays.
Interview by Alice Marsh (Communications & Events). Photos by John Rainey.