Irma Irsara Art
Möbelhaus Willinger
Outreach
As part of the R&D process for my current project, I recently delivered two outreach events with families and school children. We looked at micro fibre plastic under the microscope and discussed it’s implications on ecosystems and the environment.
Forensic scientist Pam Hamer was very helpful in suggesting ways to test the shedability of fibres from garments and came up with a quick easy and way for children to create their own ‘microscope slides’ using clear tape and a clear backing of OHP acetate. Polorised filters help to distinguish synthetic fibres such as polmeric ones from natural fibres such as wool and cotton. One identifying feature of some synthetic fibres is the fact that they’re hollow, identifiable at magnitudes of 10x or higher.
Towards the end of May, at Alexandra Park, I was joined my members of the Quekett Club (Dennis Fullwood and Paul Smith) and Friends of Alexandra Park to deliver a joint outreach initiative which looked at Diatoms, bugs and micro fibre plastic. Local families collected samples from the surrounding area and, in my case, looked for evidence of microfibres and examined fibres on clothing.
This month, I also delivered an artist talk and workshops to Year 6 students at Netley Primary School in Camden. I talked to the children about how my upbringing in the Dolomites has informed my artistic practice, especially in terms of environmental issues. I spoke about how I’m currently using microscopes as my artists’ tools to produce video outcomes that look at micro fibre plastics. I ran two workshops where we created our own microscopic slides using clear tape and acetate. We also talked about the importance of thinking and acting intelligently in order to protect the environment. I found the children to be very open to ideas of change in order to safeguard the environment.
Dale Fort Field Trip
As an artist, my final outcomes don’t claim to be research. They do aim to frame my area of interest as part of the climate change narrative in an non scientific way while referencing some of the recent findings. At the same time, I value the opportunity to engage with members of the scientific community and to participate in field study trips with groups such as the Quekett Club.
My current area of exploration is microfibre plastic. I’m interested in the plastic that ‘disappears’ from the waste stream by being broken down into smaller and smaller particles. The problem now is not only how to reduce production of plastic but how to manage what’s already there – recycling just moves the problem along.
One area of concern is the presence of micro plastics in the ocean and it’s ingestion by organisms right down to plankton at the bottom of the food chain. Clothes made from synthetics are one source of microfibre plastics found in rivers, lakes and oceans. Millions of microfibres are released every time we wash these materials.
https://www.bbc.co.uk/news/science-environment-39217985
https://friendsoftheearth.uk/plastics/microfibres-plastic-in-our-clothes
https://www.theguardian.com/sustainable-business/2017/jun/29/microfibers-plastic-pollution-apparel-oceans
On a recent field trip to Dale Fort on the Pembrokeshire coast, I was interested to see what I could find on the shoreline and in the water. There is the usual larger plastic items which ultimately will break down.
Looking at plankton using 10x and 20x lens – so showing slightly bigger examples -indicated fibres from fishing netting and plastic rope as would be expected.
Keyence VHX 5000 Microscope
Thanks to Matthew Armes, technical sales engineer for Keyence UK, who called round on Thursday to demonstrate the VHX-6000 Digital Microscope.
This is incredibly easy to use and is capable of real-time focus stacking.
Multi-angle observation by rotating the stage or tilting the lens up to 90 degrees means you don’t have the move the samples by hand. It produces images up to 1600 x 1200 – for higher res, automatic stitching is possible with the motorized stage.
Also good depth of field, embedded polarizing lens and really fast automatic focusing.
I had the opportunity to photograph some of my micro fibre plastic slides, melted snowflake and ice slides and lichens.
Images from clockwise: synthetic net bag for fruit produce, synthetic tights, melting ice, dried Lobaria Pulmonaria x 2, melting ice
Art in Health
A recent proposal led me to think about art in health settings. I’m very aware of the importance of art in these types of surroundings both from my experience as a patient who has benefited from the presence of uplifting work and as an artist who has shown work in similar settings.
Joanna Wakefield, Art Director at Art St George’s, believes that abstract art is a particularly powerful medium to enable patients and staff to find their own narratives, noting that the nature of the art within their collection is purposefully without subject bias, whilst leaning away from dark colours and macabre scenes towards bold, textured abstract works with plenty of room for interpretation and reflection.
My own work takes its inspiration from specific themes and subject matter but the finished work is generally abstract. I have work in the permanent collections of the BMA building in Tavistock Place and the Tavistock Clinic where I’ve exhibited a number of times in the past. I’ve also displayed my art at the Wandsworth Medical Centre and it has been used in visualization sessions for relaxation and meditation at the NHS Trust’s Bristol Breast Care Centre.
I’m conscious of the power of artwork to calm and uplift; to alter and enhance an environment and change an individual’s mood through colour. I’m deeply interested in the relationship between colour and state of mind. I’m conscious of the calming influence of blues and the potential of colours such as carmine red and jaune d’or to interact in a stimulating way to reinforce feelings of positivity. Art has the capacity to effect a different state of mind and transport the viewer somewhere else albeit for a brief moment in time.
My practice encompasses a broad range of media and techniques with the ‘pulp work’ (examples shown) represent a large part of my recent output. The uneven edges of the final work is very important to me as it breaks down the border between the picture and what lies beyond. It enables the work to define a space and become part of the surroundings rather than being a series of contained images.
Rivelare (Reveal) 63 x 105 cm – cotton fibre, pigment dyes, hemp, sand 2018
QUEKEX 2018
Captured irregular snowflakes (London 2018) on slides, one of which shows microfibre plastic which could be clearly seen during the melting process. It’s worth asking what sort of damage plastic fibres are doing.
Photos will be shown at the Quekett Microscopical Club Quekex exhibition at NATURAL HISTORY MUSEUM (foyer of the Flett Theatre), Cromwell Road, London SW7 5BD
Saturday 6th October 2018, 10.30am – 4pm
Invitation-only exhibition.
High Sun
Recent collaboration with John O’Leary at High Sun Solstice Camp.
Working as a Woman Artist
Reflections on Working as a Woman Artist:
talk and visuals by Irma Irsara
DATE AND TIME: Thursday March 8 – 6:00 PM – 8:00 PM
LOCATION: Resource For London, 356 Holloway Road, London N7 6PA (map below)
BOOK TICKETS (free):
https://www.eventbrite.com/e/reflections-on-working-as-a-woman-artist-talk-and-visuals-by-irma-irsara-tickets-43618971518?
DESCRIPTION
Italian artist Irma Irsara has chosen International Women’s Day to talk about her experiences as a woman artist during a career that spans over 30 years. The event is being held in conjunction with her current exhibition at Resource for London: ‘Zero Celsius – Digital Prints’.
Irma will share her thoughts on growing up in a male dominated environment, the impact of gender politics on her time at the Accademia di Belle Arti in Urbino, and the current position of women artists in the art establishment.
She will reflect on her experiences, both positive and negative, with galleries, collectors, art consultants and art fairs, as well as exploring the idea of going the solo route versus connecting with peers through collectives. She will explore how the urgency of wanting to create art conflicted with the practical side of the business. She also had to re-think her practice after the birth of her children and considers the effect of motherhood on both the content of her art and her working practices.
Irma Irsara grew up on the foothills of Monte Croce in the Italian Dolomites and her work is heavily influenced by the natural environment. She has a special interest in ecology, conservation and climate change. As well as her artistic training at the Accademia di Belle Arti di Urbino in Italy, she studied Country Care and Conservation at Capel Manor Horticultural College in Enfield. Her practice encompasses a broad range of media and techniques, with ‘pulp work’ representing a large part of her recent output. She has lived and worked in London for many years and exhibits both in the UK and abroad.
Resource for London is where the voluntary sector comes to work, meet and exhibit. Owned by Trust for London and managed by the Ethical Property Company, all proceeds stay within the voluntary sector and are used to support groups tackling inequality in London while the Centre is managed to high environmental standards.
Irma Irsara 