Erin Cummins

I am a contemporary visual artist and educator. Born in 2001 in Dublin, I developed an early passion for art, inspired by my grandmothers influence and her own love for art. My work explores the memories associated to my grandmother and her home where these memories took place. My work explores the fallibility of memory and our inability to accurately recollect events or places. Through the restaging of old family photographs, and revisiting the final home video of my grandmother’s home before it was sold, I am attempting to recall the memory of her and the place she called home. The silhouette of objects, moire patterns of fabric, layering, and skewed projections within the installation, all point to the gaps and flaws inherent in memory.

I pursued an education in National College of Fine Art and Design where I earned my Bachelor Joint Honours in Education and Fine Art. I am so passionate about my work and excited to proceed with my work and educate the young community in the beautiful world of art.

Artist Information

Erin Cummins - 116

116
My artistic journey was profoundly shaped by my grandmother, who initiated me into the realm of art during my childhood. Her influence is a cornerstone of my creative expression, and much of my work is imbued with her spirit and the cherished memories associated with her home. These early experiences with her fostered a deep appreciation for the beauty of everyday life and the significance of preserving personal histories.

Through my work, I maintain an appreciation for preserving memories, often finding solace in revisiting old family photographs. Each photograph serves as a portal to the past, a tangible connection to moments that have shaped my identity. As my artistic journey evolved, I found myself drawn to exploring the significance of old furniture and objects from the homes of those who have passed and my own grandparents home. This exploration is not merely an act of nostalgia but a deliberate effort to honor and remember the lives that once animated these spaces. The worn textures, intricate designs, and subtle imperfections of these items tell stories of their own, inviting contemplation about the narratives intertwined with these objects and the journeys of the individuals who once owned them.

My practice serves as a personal and therapeutic means of encapsulating these memories. It is a way to keep the essence of my grandmother’s life alive, to pay homage to the spaces and things she cherished, and to understand my own place within this continuum of memory and loss. Art becomes a vessel through which I navigate my emotions, allowing me to process the complexities of grief and remembrance.

116 explores the fallibility of memory and our inability to accurately recollect events or places. This installation is a poignant attempt to capture the elusive nature of memory, acknowledging its inherent imperfections and gaps. Through the restaging of old family photographs, and revisiting the final home video of my grandmother’s home before it was sold, I am attempting to recall the memory of her and the place she called home. The silhouette of objects, moire patterns of fabric, layering, and skewed projections within the installation, all point to the gaps and flaws inherent in memory. These artistic choices reflect the fragmented and sometimes distorted ways in which we remember the past, highlighting the selective nature of memory and the emotional weight it carries.

In my exploration of old furniture and objects, I often find myself feeling the unusual familiarity that I feel when looking at these objects that I have no connection to. This sense of recognition and resonance with items that belonged to others underscores the universality of memory and human experience. It highlights how certain shapes, textures, and forms can evoke a collective sense of nostalgia and belonging, bridging the gap between my personal memories and the broader human condition. This phenomenon deepens my artistic inquiry into the narratives these objects hold and the shared emotional landscapes they reveal.

In 116 I aim to create an immersive experience that invites viewers to reflect on their own memories and the objects that anchor them. By confronting the uncertainty and subjectivity of memory, the installation encourages a dialogue about how we preserve and interpret our personal histories. It is a tribute to my grandmother, a meditation on the enduring impact of those we have lost, and an exploration of the delicate, often unreliable, tapestry of memory that we all carry.

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