Foreword Wherefore do ye spend money on that which is not bread?...
Abigail O’Brien was born in Dublin in 1957. She studied fine art as a mature student,
To the viewer, the images cannot be obviously linked with any particular bakery. Each
Eat that which is good, and let your soul delight itself in fatness.
graduating in 1998 from the National College of Art and Design (NCAD), Dublin. Since
is named after an artist, a female artist, O’Brien says “because the image suggests
Bakery, Drogheda, through baker and managing director Patrick McCloskey. In a
then her work has earned numerous awards and accolades, and she has exhibited
something to me about their work”.
highly competitive and difficult market we are grateful for his belief in the project and its
-Isaiah 55:2
value. Thanks to Drogheda & District Chamber colleague and current, President Simon
consistently both in and outside Ireland over the last two decades. The second element is the bread sculptures - ethnic breads that have been put
McCormack who made the key initial introductions.
O’Brien’s work primarily foregrounds her identity as a woman. Belgian philosopher
through a process of firing and silvering, their nourishing and life-giving properties now
With Bread is an exhibition of photographs, sculpture/installation, and video by artist
Luce Irigaray has said that “one must assume the feminine role deliberately” (Jung,
suspended forever. Their titles refer to monetary currency - Peso, Euro, and Pound -
There are two outstanding essays in the catalogue from writer and psychoanalytic
Abigail O’Brien, her first solo museum exhibition and monograph in Ireland since 2009.
Irigaray, Individuation: Philosophy, Analytical Psychology, and the Question of the
and as objects of beauty O’Brien believes “they still have ‘currency’ …and may even
practitioner Dr Medb Ruane and poet, novelist and prose writer Theo Dorgan.
Feminine, 2008), in the struggle to find authentically female ways of speaking,
have ‘value’ in their metal properties”.
Sincere thanks to both writers for their time and creativity in the texts. Thanks also to journalist and writer Susan McKay for agreeing to open the exhibition.
The exhibition continues a strand of solo shows for Highlanes Gallery including Citizen:
dreaming and desiring that are free from male-centeredness. O’Brien’s practice
Anthony Haughey (2013); I am here; you are there: Kate Byrne (2013); Sarah Browne:
also explores culture and everyday rituals, encompassing life, death, love, birth and
The third and final element is a video projection titled Grande Dame, a three minute
Second Burial at Le Blanc (2012); Samuel Walsh: The Coercion of Substance (2012);
immortality.
piece capturing in slow motion a levain or sourdough starter at the moment of rising.
The team at Highlanes Gallery are central to the development, installation,
For O’Brien, this represents fecundity and fertility.
communication and engagement of, and with this exhibition. I would like to thank
Sinéad Ní Mhaonaigh (2011); Ten Miles Round: Jackie Nickerson (2010); Conflicting
Siobhan Burke, Patrick Casey, Ian Hart, Siobhan Murphy and Hilary Kelly, and
Account: Paul Seawright (2010); Shuffle: Richard Gorman (2010); and Eclipse of a
An artist I have long admired, I first became aware of O’Brien’s practice while working
Title: Diana Copperwhite (2008).
at the Irish Museum of Modern art, when The Last Supper (1995), one of her most
The exhibition has been conceived not only for Highlanes Gallery, but for two other
the team of invigilators and installation crew for their ongoing commitment and
important works was acquired to the Collection. When I began working at Highlanes
partner venues, The Dock in Carrick-on-Shannon, and Limerick City Gallery of Art,
enthusiasm. Primary school teacher Ann Burke has generously given of her time and
While bread and the craft of making it are nearly as old as civilisation itself, Pain au
Gallery in 2007, O’Brien had become resident in Co. Louth and accepted an invitation
both of which it will tour to in the coming eighteen months. We are grateful to curator/
advised on elements of our Primary School Programme and the school curriculum for
levain was the first leavened bread, probably discovered in Egypt six thousand years
to join the Board of the gallery, where she played a central role over a five year term.
director’s Siobhan O’Malley and Helen Carey and anticipate interesting exhibitions, as
this exhibition. Thanks also to Highlanes Gallery Board, in particular Chairman, Kevin
ago. Abigail O’Brien’s interest in bread, its elemental properties, the magical process
Her appointment as the first female Secretary of the RHA (Royal Hibernian Academy)
well as great discussion and engagement in their sites and with those who come to
McAllister and Alison Lyons for their steadfast and strategic support for the work of
that takes place in its making, its centrality in human daily life across race and culture
in 2012 signalled the end of her time on Highlanes’ Board.
the exhibition.
Highlanes Gallery.
However, a mutual friend, artist Amanda Coogan prompted a suggestion of a future
As well as ongoing funding from Drogheda Borough Council and the Arts Council,
Finally, there would be nothing without the work of the artist. Abigail O’Brien is one
collaboration and exhibition; Abigail had been already working on this and another
the project was awarded an Arts Council Touring Grant early in 2013, which has
of the most important visual artists working in Ireland today. The value of her work
The work for this exhibition has developed and continued out of an earlier exploration
body of work when I approached her to make an exhibition for Highanes Gallery…and
enabled the large format exhibition concept, the national tour, this catalogue, and
is immeasurable as is her ability to deliver to the highest standard even under the
Kitchen Pieces – Confession and Communion (1998), from the exhibition The Seven
she willingly agreed.
accompanying public programme. We acknowledge this critical and special
most challenging and difficult circumstances. Abigail is an inspiration; she is a true
financial commitment.
alchemist, and it’s been a pleasure working with her.
and religion, as well as its familial, social and cultural importance (historically through the female), and its rich symbolism, spans some twenty years.
Sacraments, a major body of work which was created by her over eight years (1995-2003).
With Bread includes three elements. The first is a series of framed photographs which have been taken in four bakeries in Ireland, McCloskey’s Bakery, Drogheda; Barron’s
In tandem with this extra funding, we have been fortuitous in securing significant
Bakery, Waterford; the Bretzel Bakery, and Il Valentino Bakery, both in Dublin.
sponsorship for all elements of the exhibition from McCloskey’s Traditional and Artisan Aoife Ruane, Director, Highlanes Galler
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