Document Type



Available under a Creative Commons Attribution Non-Commercial Share Alike 4.0 International Licence


6.4 ART, Arts, Art history, 6. HUMANITIES

Publication Details

Solo Exhibition The Metropolitan Arts Centre, Belfast

The Hennessy Fund, Irish Museum of Modern Art

In the Collection of the Irish Museum of Modern Art

Carrara marble, split suede leather hide, clear acrylic Perspex, hand-lathed bronze bars, Chroma green photographic backdrop, photographic stands, tripods, bull clips, clamps, gloss C-type print, redhead halogen light, high impact packaging foam, wooden archeological find rulers, plastic archeological find rulers, archeological ranging poles, plastic archeological find numbers, mirrors, iPad, fibre-based photographic paper photograms, museum stanchions, yellow bungee cord, spotlight and tecton light sequence, Dulux ‘Red Stallion 2’ acrylic emulsion.

Voice of the canon by Olwen Fouéré


This exhibition begins with a proposition. What if this is the last thing, the final material to be pulled out of the ground, the final piece of stuff that has not already been purposed by humans?

This speculative thing is contained within the gallery space. It is surrounded by a multitude of other items whose role is to act in its service. Boundless questions arise; how is its form negotiated, its value, its needs, its position within the world, its relationship with the viewer, its relationship to the MAC? We are presented with this ‘thing’, seated among its companion objects, and its infinite possibilities and impossibilities. This project embodies the artist’s interest in the means by which meaning and value of the things around us is constructed and disseminated in contemporary culture.


The Metropolitan Museum of Art, Belfast, The Arts Council of Ireland, Hennessy Fund for IMMA