My practice is cultivated through a self-conscious mix of my own social awkwardness and struggles I associate with identifying myself as a professional artist. Much of my influences derive from my rural upbringing, experiences and sense of place. These self -induced references also function as starting points for which often positions the practice within a frame of local language, expression and information, giving the practice a specific landscape and context for the work to realize itself.
I use film and painting as creative tools to respond to the world I perceive around me. Through the repetitive process of exploring and manipulating these creative mediums, the work physically and conceptually switches positions back and forth, consciously and unconsciously feeding and bouncing off their own actions and creations. This conflict or habitual action within the practice makes the activity of steering the practice itself the subject that is being explored.
My approach to art making functions on levels of carefully considered and logical planning combined with an awareness to the immediacy and changing nuances of my surrounding environments. The practice is also strongly steered by a constant negotiation rejection and acceptance to the ever-changing trends of these environments.Â This approach heavily relies on a strong connection with attitude and ego, both subjects that constantly haunt and lurk around the practice.
The reoccurring relationships, patterns and themes that dominate the practice and continue to excite me as an artist are the functionality of objects and images in different spaces. How and where the work can function inside and outside of the studio space combined with the position of the individual as both a participant and a viewer all play an integral role in the formation and contribution of narrative to the work.
Narrative, the role of language and identity are currently primary subjects I am exploring through film. Working from the two different contexts of Belfast and Kerry, switching from each location monthly, I have developed a systematic approach to my working methods, resulting in the creation of a double practice.
With these two different spaces uniquely characterised by their own set of social, cultural and political actions, I am exploring the invisible spaces in between, the physical and abstract boundaries that bridge Southern Ireland to Northern Ireland and how the transformative nature of language and information can encapsulate an identity. Taking these ideas as departure points, I am processing and allowing how my actions from one space informs and influences my artistic happenings and decisions in the other.
This departure in the practice has opened up opportunities to work with and be exposed to varied sources in Kerry and Belfast, elevating the work on a richer scale of contextual growth. Receiving this award at this pivotal stage of my career will concretely support these opportunities, giving me the required resources, skills and time to fully engage with the practice.
Julie Lovett (b. Kerry, 1984) is a visual artist. She studied at The Limerick School of Art and Design, â€™03- â€™07 (BA Fine Art in Painting) and The University of Ulster, â€™09- â€™11 (Masters of Fine Art).
Along with exhibiting her work in Germany, Belfast, Dublin and Kerry, Julie has also been the recipient of various achievements and awards. In her early career, she received the BA AIB Purchase Prize in Painting which gave her the encouragement to continue developing a painting practice post graduating. In later years, she won the MFA Residency Award where she dedicated one year in residence at The University of Ulster, resulting in a solo exhibition of her work. Since receiving an Equipment and Materials Bursary award from Kerry County Council, she has been focusing on developing film as a medium and tool. She is currently undergoing a two-year project into further developing her practice as a result of being awarded the 2018 Freelands- Ps2 Artist bursary.