Irish artist Michael John Whelan’s latest body of work, “Lupus”, is based on the historical fact that a decree was issued in the 17th century for the extermination of all wild wolves in Ireland to protect farm animals. This resulted in the slaughter of over 20,000 wolves, and the complete disappearance of the animal from the country.
Whelan has used photography, video and sculpture to commemorate the missing wolves. His focus on the place where the last wolf was slain is a reminder of human interventions and their consequences. The body of work, which takes its name from the Latin word for wolf, invites viewers to contemplate the changing relationship between human beings and nature; and to construct their own narrative about the legacy of the wolf. The show is curated by Eammon Maxwell and supported by Culture Ireland.
“I delve into science and history to look for real life examples that I can use to construct stories for expressing my ideas. During my research I found that the last wild wolf in Ireland was recorded to have been slain, by wolfhounds bred for the purpose, at the foot of Mount Leinster in 1786.
“The drama and emotion of this event fired my imagination. In those days Ireland was under British rule, and the decree not only forced Irish farmers to kill the wolves, but also encouraged them by offering them monetary rewards for every pelt. I am interested in the political, socio-economic and ecological layers in this old and complex history of wolves in Ireland. For me, this body of work is deeply personal because it looks at the history of Ireland, while also including references to Germany, where I am now based,” Whelan says.
The artist has used different techniques and media to symbolically resurrect the wolf and bring alive this forgotten history. “The Illumination of Lupus” is a documentation of a performative work for which Whelan travelled to Mount Leinster. Using a high-powered laser, he created a projection of the constellation Lupus in the night sky, directly above the area where the last wolf is believed to have been killed.
“This constellation, named after the wolf, can only be seen in the southern hemisphere; so its presence above Mount Leinster is astronomically impossible. This work represents a temporary and unsustainable attempt to replace the lost wolf in that landscape. It also positions the anthropomorphic values we place on animals alongside the historical significance and meaning of star cartography,” Whelan says.
Other works evoke memories of Mount Leinster and the idea of the last wolf through traces of pressed flowers picked by the artist from the mountain; a cairn (mound) made of rocks brought from the mountain; and a black and white photograph of the view from the mountain. Each of these works acts as a place marker in a changing landscape.
The centrepiece of the show is a film, “From the Mountain”, shot at various locations in Ireland and Germany. The visuals include nightscapes shot at the base of Mount Leinster; close up footage of a pack of wolves at a nature reserve in Germany; Irish wolfhounds at a breeding centre; and a decommissioned surface-to-air missile base on a mountain in Germany.
The haunting narration in the film references 18th-century documents about the end of the wolves in Ireland and the financial incentives offered for killing the animals. The words are like signposts from history reminding us of the actions of our forefathers. The visuals speak about how wolves once hunted human beings until we developed the weapons to control them; and the deforestation that initiated this cycle of animosity between human beings and wolves.
“The idea behind bringing together these diverse images, locations and memories was to look at the way human beings have affected the landscape; and to understand our changing relationship with our environment. I always use ambient noise in my films, but this time I used music and sound designed in collaboration with Irish composer Brian Cosby, to add another layer to this work,” Whelan says.
“There is an undercurrent of nostalgia in this show, but it also questions where we are going in the future. This work is not about one wolf. It is about exploring different ways of remembering the past, of bringing a sense of place or a trace for people to connect with something that is missing in their lives,” he adds.
Lupus will run at Grey Noise gallery, Al Quoz until December 4.
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Fired Up
AUD is hosting an exhibition, titled “Fired Up”, featuring ceramics created by students from its Department of Visual Communication. Participants include Aisha Almohtadi, Basma Abdou, Cham Al Malla, Farah Nasser, Hetavi Mandalia, Jessica Khawam, Kamel Al Haj, Maryam Ghadi, Paolo Benitez, Reem Sinjab, Sabtain Sharif, Sarbjyoti Sahni, Shouk Al Sayegh, Zhiwen Shan and Zoha Bagasrawala.
These budding artists learnt the basic techniques of this ancient art in the 3D design course, taught by Michael Rice, associate professor of studio art. “Clay is one of the oldest materials man has used in the creation of both art and technology. From humble pots to sculpture to scientific devices, clay continues to fascinate and amaze us with its ability to transform into a spectrum of applications. Working with clay is also an extremely therapeutic experience. In my 3D design course, the students learnt some of the main techniques of making and firing ceramics. I am happy that this structural foundation encouraged them to explore the material and experiment with it to create their own personal responses, themes and narratives,” Rice says.
The show will run at Rotunda Gallery, AUD until December 4, and is open to the public.