Ciarán Óg Arnold (b. 1977) is an MFA photography graduate from University of Ulster. Arnold is the first Irish photographer to have won the prestigious international MACK First Book Award in 2015 for his series I went to the worst of bars hoping to get killed, but all I could do was get drunk again. His work was exhibited in Midlands – Photographs from the Interior group exhibition at Photo Museum Ireland (formerly Gallery of Photography Ireland) surveying the interior landscape of Ireland in 2008.

He was shortlisted for the Photo Museum Ireland / Source Magazine Solas International Photography Prize and international touring exhibition. His artist book received extensive international acclaim and was widely featured to critical acclaim in the press worldwide in 2015. Arnold has recently exhibited at Seen 15 Gallery during Photo London, and Les Rencontres d’Arles, France. In 2023 he was awarded the inaugural Artist Development Residency Award to develop his new body of work Man Among the Ruins, featured in the No Place Like Home exhibition in 2023.

His work has been purchased for the National Photography Collection at Photo Museum Ireland.

Enda Bowe is an Irish artist, living and working in London and Dublin.Enda Bowe’s work is concerned with storytelling and the search for light and beauty in the ordinary. He presents his work through exhibition and the publication of photographic monographs. His work has been exhibited in galleries and museums including the Victoria & Albert Museum, London; Red Hook Gallery, New York; the Douglas Hyde Gallery, Dublin; the National Portrait Gallery, London; Fotohof, Salzburg; Fotomuseum, Winterthur; Dortmund U Gallery, Dortmund; Photo Museum Ireland and The Visual Centre Of Contemporary Art, Ireland. He won the Zürich Portrait Prize in 2019 and the Taylor Wessing Portrait Second Prize in consecutive years, 2018 and 2019.

Bowe recently worked with Lenny Abrahamson as stills photographer on the acclaimed series Normal People, and collaborated again on Abrahamson’s Conversations With Friends in summer 2021. Bowe collaborated with young people on either side of the peace walls in Northern Ireland over a five-year period on his recent Love’s Fire Song series. Curated and premiered by Photo Museum Ireland in 2021, the exhibition was selected as was selected by FRIEZE Magazine as one of the UK and Ireland’s top 10 exhibitions for 2021. Bowe was nominated for the Prix Pictet Award 2021 and the Deutsche Borse Foundation Photography Prize 2022.

His work has been purchased for the National Photography Collection at Photo Museum Ireland.

Krass Clement is a Danish autodidact photographer. His internationally acclaimed work emerges from two traditions: Scandinavian melancholy and the ‘flaneur’ tradition from the Parisian school. Clement’s work is concerned with reflecting interior states of mind rather than with documenting real life situations.

His dark, stripped-back aesthetic combines with a stream of consciousness approach to evoke introspective, psychological landscapes that sit somewhere between fiction and reality. Clement works quickly, moving through spaces as a visitor and an observer, working as unobtrusively as possible. His work originates from a fertile and imaginative thought process, a stream of consciousness that is clearly evident in his later books.

In 1991, Krass Clement travelled to Ireland at the invitation of the Tyrone Guthrie Centre, a trip which resulted in Clement’s best known publication DRUM. Shot in a single evening on just three and a half rolls of film, this seminal work has typified Clement’s work ever since. The work was also presented in the village of Drum, County Monaghan as part of a major Photo Museum Ireland (formerly Gallery of Photography) Public Art programme, supported by Monaghan County Council and Creative Ireland. Recent publications with RRB Books include: Impasse Hotel Syria; Belfast; Across the Cut; Dublin.

His work is held in the National Photography Collection at Photo Museum Ireland

Mark Curran is a researcher-activist and educator based in Berlin and Dublin.

Informed by visual anthropology and incorporating multi-media installation, he has undertaken a cycle of significant long-term projects critically addressing the predatory impact of migrations of global capital: Southern Cross (1999-2001), The Breathing Factory (2002-2006), Ausschnitte aus EDEN/Extracts from EDEN (2003-2009) and The Market (2010-2019). All three major bodies of work were premiered at Photo Museum Ireland (formerly Gallery of Photography). Installations include Centre Culturel Irlandais, Paris (2014), Noorderlicht, Netherlands (2015 & 2019), Blackwood Gallery, University of Toronto (2016), Athens Biennale (2017), Le Bleu du Ciel, Lyon (2017), Krakow Photomonth (2018), Ballarat Biennale, Australia (2019) and Museum of Capitalism (Oakland, 2017 & New York City, 2019).

Curran holds a practice-led PhD, Lecturer, BA (Hons) Photography and Postgraduate Supervisor, Institute of Art, Design & Technology (IADT), Dublin. Since 2011, he has been Visiting Professor, MA Visual & Media Anthropology, Freie Universität Berlin. His work is held in the National Photography Collection at Photo Museum Ireland.

Ciarán Dunbar currently lives and works in Dundalk, Ireland. He gained a BA in Photography from the University of Ulster, Belfast, in 2013. Having escaped The Troubles in the 1980s, Dunbar’s parents, originally from the north of Ireland, settled in Dundalk. It is here, against the backdrop of this border town, that issues of identity, displacement and belonging have become the focus of Dunbar’s work to date. His project Diesel traces the illegal dumping of toxic waste material, commonly referred to as ‘sludge,’ by diesel launderers at sites along the Irish border between Counties Louth, Armagh and Down. Diesel laundering plants range in size and sophistication, laundering anywhere between 6 and 30 million litres of fuel per year.

His work has been featured in Photo Museum Ireland’s Ireland’s 5-year Reframing the Border programme exploring creative responses to the border, which culminated in a series of public art installations along the border marking the Centenary of Partition in 2021. He was awarded a Galleries Without Walls collaborative commission which culminated in a ground-breaking NFT programme organised by Photo Museum Ireland, Regional Cultural Centre, Letterkenny and the Museum of Crypto Art.His photo book Diesel, was published with support from Photo Museum Ireland in 2023. His work is held in the National Photography Collection at Photo Museum Ireland.

Tessy Ehiguese is a Fine Art and Fashion Photographer. She was born in Kaduna, Nigeria and spent most of her life in Dublin. She got into photography in her transition year at St Joseph’s in Lucan, and went on to study Creative Digital Media at TUD.

She has continued to pursue photography because of the ability it gives her to express her wild imagination. In 2020 she was awarded a Creative Ireland & Dublin City Council Diversity Commission. For this Public Art Commission curated by Photo Museum Ireland (formerly Gallery of Photography Ireland), Ehiguese wanted to acknowledge the creative, professional and entrepreneurial contribution that ethnic minority communities have made to Dublin City. She focused on the Asian and African diaspora working in Dublin City centre.

Her work has been purchased for the National Photography Collection at Photo Museum Ireland.

Paul Gaffney‘s work is concerned with investigating different ways of experiencing and representing landscapes. Drawing on Arnold Berleant’s theory of a ‘participatory approach’ to landscape, in which the artist, environment and viewer are considered to be in continuous dialogue with each other, his practice proposes to communicate an experience of immersion in nature. Gaffney holds an MFA in Photography from the University of Ulster in Belfast, and a Diploma in Documentary Photography from the University of Wales, Newport.

He was selected for the Arts Council’s ‘Next Generation Bursary Award’ 2016-17. He has been nominated for both the Prix Pictet and Deutsche Borse prizes by Photo Museum Ireland. His acclaimed photobook, We Make the Path by Walking, focused on the idea of long distance walking as a form of meditation. His second publication Stray was photographed by night in a dense Irish forest during an artist residency in 2014, and his latest project Perigee was made in the Ardennes in Luxembourg under the light of the full moon.

His books have been nominated for the Photobook Award at the International Photobook Festival Kassel (2013 & 2016), shortlisted for the European Publishers Award for Photography, and selected for ‘Best Photobooks of The Year’ lists. His work has been presented as solo exhibitions at the Centre national de l’audiovisuel (Luxembourg), Flowers Gallery (London), Gallery of Photography Ireland, Belfast Exposed Gallery, Ffotogallery (Cardiff), Oliver Sears Gallery and in group shows and festivals in the US, UK, South Africa, Ireland, Italy, France and China.

His work has been purchased for the National Photography Collection at Photo Museum Ireland.

Noel Bowler is a photographer and educator. He holds an MFA in photography from the University of Ulster. Bowler’s work is concerned with making visible the hidden power structures and human rights issues in contemporary Ireland.

Photo Museum Ireland (formerly Gallery of Photography Ireland) have curated and premiered Bowler’s three major projects: The Joy (2006), a sensitive portrait of life in Mountjoy prison; Making Space (2011), an exploration of the coexistence of the Islamic faith in contemporary Ireland; and Union (2017), a timely study of labour unions in Ireland and internationally.

Bowler’s work has been exhibited worldwide including New York Photofestival, Dali International Festival, Yunan, China, with recent solo exhibitions in Impressions Gallery, England, RPS Gallery, Tokyo and the Gallery of Photography, Ireland. He is currently a Senior Lecturer in Photography at the University of Suffolk.

He has been nominated for the Deutsche Börse Photography Prize and the Prix Pictet Photography Prize. His latest book Above The Fold was published in 2021. Noel’s photographs, exhibitions and publications continue to look at the ongoing consideration of the political forces that shape our world, reflected through the organisation of social space.

His work has been purchased for the National Photography Collection at Photo Museum Ireland.

Ala Buisir is an award-winning visual artist & journalist. Born in Ireland with Libyan roots, Ala is a graduate BA in Photography from TU Dublin and MA in Journalism from DCU. In 2020 she was awarded a Creative Ireland & Dublin City Council Diversity Public Art Commission. Curated by Photo Museum Ireland (formerly Gallery of Photography Ireland), Buisir worked with members of the Muslim community living in Ireland for more than 20 years to create a series of portraits, presented as Public Art installations across Dublin. Working in a socially-engaged, collaborative way, Buisir makes visible the life stories and values of an under-represented community in contemporary Dublin.

She is currently undertaking a PhD by practice at the University of Limerick, investigating the ‘othering’ of Muslim women in the Western world by societal Islamophobia and Western tropes of Islam. Her aim is to inform participatory arts-based interventions to challenge Islamophobia against Muslim women, amplify Muslim women’s voices and create avenues for digital storytelling in which these voices are agents in their narrative.

Her work has been purchased for the National Photography Collection at Photo Museum Ireland.

Simon Burch is an MFA photography graduate from University of Ulster. His acclaimed Under A Grey Sky series has been exhibited widely in Ireland and internationally. Made over four years, the work explores the rain-soaked peatlands of Ireland’s central plain, the most intensively industrialised landscape in the country.

The work presents a dichotomy between the desolation and emptiness of the peatland, and the latent energy it holds for the community. In large scale colour landscapes and portraits, Burch captures the distinctive textures of this unique area, while drawing attention to the environmental impact of the reduction of boglands in Ireland.

His work has been purchased for the National Photography Collection at Photo Museum Ireland.

Dorje de Burgh lives and works between Killarney, Dublin & Berlin. His practice uses photography, the archive, language, and film to explore libidinal excess, lack, liminality and the paradoxes of (image) desire in an increasingly schizoid present.Dream the End led to his selection for the FUTURES European photographic mentorship program in addition to being shortlisted by Void Athens and FotoRoom in their photobook series publishing award, presented at Unseen Amsterdam and selected for inclusion in the Pallas Projects Periodical Review survey of Irish art 2019.

Subsequently, a selection of works from his current work-in-progress The Sting of Love were purchased in 2021 by the Arts Council of Ireland for their public collection. What Are The Roots That Clutch, his first artist’s monograph, was published in February 2022. His work has been purchased for the National Photography Collection at Photo Museum Ireland.

Shia Conlon is a writer and artist whose work has been centred around marginalised voices and growing up in the landscape of working-class Catholic Ireland. Conlon’s research is focused on non-linear time, queer representation, archives, language, and memory.

He lives and works in Helsinki, Finland. Conlon’s Against Domestication is an examination of power structures and how they might op a body. Those structures take the shape of gender, sexuality, religion, the family, and the state. The project serves as a form in which to explore the rearticulation of trauma where the camera is utilised as a form of speech. The resulting image acts as a language to communicate the otherwise ineffable.

So often trauma takes away the inability to articulate, and memories become obscured. The act of speaking, making a language, post-trauma, is political. His work has been purchased for the National Photography Collection at Photo Museum Ireland.

Martin Cregg is an Irish photographer and educator living in Dublin. He is Coordinator of Photography at Pearse College of Further Education in Dublin.
He has been nominated for the Prix Pictet Prize 2010 & 2016 by Photo Museum Ireland.

He has exhibited in Ireland and Internationally Represented by Heillandi Gallery (Switzerland) and The Copper House (Dublin): Represented by Heillandi Gallery (Switzerland) and The Copper House (Dublin); Roscommon Arts Centre (2018); Illuminations (2014); PhotoIreland (2013); Les Rencontres d’Arles (July 2012); the Natural History Museum in Leeuwarden (July 2012); Postcards from The Celtic Tiger (Shanghai, 2010); Photo Museum Ireland (formerly Gallery of Photography) (2008). He is represented by Heillandi Gallery (Switzerland) and The Copper House (Dublin).

Cregg is a member of the International Reflexions Masterclass – presenting work in Basel, Paris, Venice and Lugano in 2010-2011. In 2010 he was also commissioned to work and exhibit in the ‘Foreign eyes on Frysland’ project – as one of the six international photographers to explore the region. Further, in 2011 his ‘Photo Course‘ project was shortlisted for the FOAM Talent Call. In 2016 his book MIDLANDS was shortlisted for the Kassel Fotobook & Photobook Bristol and is in a number of collections internationally.

His latest work The Plot (2022) is an exploration of the undercover Intelligence war between the IRA and British Agents which occurred within the context of the Irish War of Independence. His work has been purchased by the National Photography Collection at Photo Museum Ireland.

John Duncan studied Documentary Photography in Newport graduating in 1989 and Fine Art Photography at Glasgow School Art graduating in 1992. For over thirty years he has been making work in Belfast, where he is lives and works. Duncan examines evidence of persistence and change both in terms of local politics and the impact of wider global trends. His ongoing practice stems from a sustained engagement with his home city of Belfast, examining and reflecting on its evolving state.

His acclaimed project Bonfires (2003-2005) documented a long-standing tradition of bonfire building by Protestant communities. His monograph Bonfires was published in 2008 by STEIDL. Selected solo exhibitions include: Bonfires, Temple Bar Gallery, Dublin; Belfast Exposed; Wolverhampton Art Gallery, and Ffotogallery Wales (2009/8); We Were Here, Gimpel Fils London (2006); Trees from Germany, Belfast Exposed (2003). Group exhibitions include: Politics of Place Photo Museum Ireland (2022);Art of the Troubles, Ulster Museum (2014); Loaded Landscapes, Museum of Contemporary Photography, Chicago (2007); and Dogs have no religion, Czech Museum of Fine Art (2006).

In addition to his work as an artist he is co-editor of Ireland’s leading photography periodical SOURCE Photographic Review. His work has been purchased by the National Photography Collection at Photo Museum Ireland.

David Farrell began photographing the searches for ‘the disappeared’ in 1999. These were people who had been abducted from within their own communities in Northern Ireland, murdered and secretly buried across the border in the south. As part of the peace process information about these burial sites came to light and forensic searches began which Farrell photographed extensively. A book based on the work, Innocent Landscapes, came as a result of winning the European Publishers Award for Photography in 2001. Farrell continued to photograph the sites as the searches were periodically resumed.

Small Acts of Memory is a body of work within the larger project The Disappeared (1999-2015) that concentrates on Coghalstown Wood, reputed to be the burial site of Seamus Wright and Kevin McKee who disappeared in 1972. Farrell has exhibited internationally, including Houston FotoFest, 2006, on four occasions at the Festival Internazionale di Fotografia, Rome and in China in 2008 and 2010. Recent exhibitions include Before, During, After… Almost, RHA, 2016 and Post-Picturesque: Photographing Ireland, Carlton College, USA, 2017; A Name Unmade: Francis Ledwidge (1887-1917), Solstice Arts Centre, April, 2017 and the RHA Annual Exhibition, 2017.

Kevin Fox is a photographer and lecturer at Griffith College, Dublin. He has an MA in Digital Arts from University of the Arts London, and a BA in Photography from D.I.T. Kevin has worked in photography since 2006. His art practice engages with communities in Derry and he is currently researching a project exploring institutional care in Ireland.

In 2017 Fox was commissioned by Photo Museum Ireland (formerly Gallery of Photography Ireland) to create a unique contemporary portrait of this border village in County Monaghan. A sustained process of engagement with the local community informed the development of the project.

Working over this extended period with the people of Drum enabled Fox to reveal a nuanced portrayal of the village and its people. His work has been exhibited in solo exhibitions across Ireland and is featured in the National Photography Collection at Photo Museum Ireland.

Clare Gallagher is a Northern Irish artist whose work focuses on the ordinary, everyday experiences of home. A photography lecturer since 2003, she teaches on the BA, MFA and PhD programmes at the Belfast School of Art, Ulster University. Clare is also an academic researcher and completed a PhD using photography and video to research the hidden work of home and family. She is currently writing a book, A Woman’s Work: Home as Personal and Political. More of her research can be found here.

Clare’s practice centres on themes of home and care, primarily using photography. Her previous projects have focused on overlooked elements of domestic life, seeking value in the daily work of mothering and home, and challenging perceptions of home life as leisured, insignificant and safe. In The Second Shift she looked at the invisible work of home and childcare primarily carried out by women on top of their paid employment. The series was published as a photobook which was named as one of The Guardian’s top 15 photobooks of the year, incorporating a quietly angry poem by Leontia Flynn, and using cropping and layering to destabilise and denaturalise notions of home.

Her work-in-progress Touch/Hunger turns towards the attachments and tensions in relationships of and with the home, the performance of care, as well as invisible mental and emotional labour. It explores the contradictions of intimacy and claustrophobia situated there, and maternal anxiety about loss or separation at the same time as the increasing detachment of teenagers.

Emer Gillespie is an Irish artist currently living in the UK. Graduating with an MA in Photography from the London College in Communication in 2009, her work is personal in nature, examining issues around motherhood, alternative family structures and the role that the subject and photographer play in creative collaborations. Gillespie’s First Mothers, is a personal and emotional look at forced adoption in Ireland. It is inspired by her own experience as a single parent and her mother’s and aunt’s experience of coerced adoptions in Catholic controlled Ireland.

Exhibitions include: Love will tear us apart, Centre Photographic (Clermont-Ferrand, France), How One Thing Leads to Another, Critical Mass, Houston Centre for Photography, She loves me, she loves me not, Encontros da Imagem (Portugal), Family Narratives, RUA RED (Dublin), FFWE, Photographers Gallery (London), Altered States, Foley Gallery (New York), Shifting Perspectives, OXO tower, Southbank (London) and The Space Between at the V&A Museum of Childhood (London).

First Mothers was awarded a Solas Ireland award and was exhibited at the Gallery of Photography Ireland which subsequently toured internationally.

Karl Grimes (b. 1955) studied Photography and Communications on a Fulbright Award at New York University and the ICP, New York, graduating with an M.F.A. His work is exhibited and published in the United States and Europe and is represented in a number of international public and private collections. His practice is primarily concerned with the politics and hidden narratives implicit in science, medical, religious and natural history archives.

Previous exhibitions include: National Museum of Ireland, Dublin, Ireland – September to November, 2007; Photo Museum Ireland (formerly Gallery of Photography Ireland) – September to November, 2007; Linnaeus University, Kalmar, Sweden. September 2011; Gallery tour: New York, Boston, Providence, Istanbul, Paris. 2008 – 2014; VIAL MEMORY – RELIQUIAE, Mütter Museum Project, Philadelphia, USA. 2008 – 2012; INFECTIOUS – STAY AWAY Science Gallery, Dublin, Ireland – 17 April to 17 July, 2009; NATURE FRAGILE, LE CABINET DEYROLLE, Musée De La Chasse et de la Nature, Paris. Nov 3 – 13, 2008.

Drawing its title from a mnemonic for the Linnaean classification system (Domain, Kingdom, Phylum, Class, Order, Family, Genus, Species), Grimes’s Dignified Kings Play Chess On Fine Green Silk takes a behind-the-scenes look at the order of nature and display in one of Ireland’s most beloved collections. The work was based on Grimes’s year-long term as artist-in-residence at the Natural History Museum, then celebrating its 150th anniversary, which was supported by the Arts Council of Ireland and the Morris Foundation, USA, and exhibited simultaneously in National Museum of Ireland and Photo Museum Ireland. His works has been purchased for the National Photography Collection at Photo Museum Ireland.

Anthony Haughey is a socially engaged artist, educator and co-founder of the Centre for Socially Engaged Practice-Based Research at TU Dublin. Recent exhibitions include the film trilogy Assemble, a public artwork commissioned by Fingal County Council and made in collaboration with the Global Migration Collective, installed in RCC Letterkenny and screened in Ulster Museum for Belfast Film Festival; Open House, Whitworth Gallery Manchester; Picturing People, National Gallery of Ireland; A Dress for Akunma, National Museum of Ireland; Citizen Nowhere / Citizen Somewhere: The Imagined Nation, Crawford Gallery, Cork; Go Down Moses, curated by Teju Cole, Museum of Contemporary Photography, Chicago, and 21st Century Ireland in 21 Artworks, curated by Cristín Leach, Glebe Gallery, Donegal.

His work featured in Gallery of Photography Ireland’s Reframing the Border programme, an installation, Field Notes From the Border and a collaborative public artwork with the late Seamus Deane in Derry. He was Senior Research Fellow (2005-8) at the Interface Centre for Research in Art, Technologies & Design in Belfast School of Art, where he completed a PhD in 2009. He is an editorial advisor for the Routledge journal Photographies and chair of Fire Station Artist Studios. He recently produced Anthem, a collaborative art intervention to commemorate the 1921 Anglo-Irish Treaty signing. He is currently Decade of Centenaries artist-in-residence in the National Museum of Ireland. HIs work has been purchased for the National Photography Collection at Photo Museum Ireland.

Seán Hillen (b. 1961, Newry) is an artist living and working in Dublin. He studied at Belfast College of Art, the London College of Printing and at the Slade School. His 1980s photo- collage works, based on his own documentary photographs mixed with tourist, toy packaging and fantasy material were at different times highly praised and heavily censored. The original black and white photographs have since been acquired as a permanent collection by the National Library of Ireland, and published as Melancholy Witness by The History Press.

The gently post-apocalyptic and visionary IRELANTIS series begun after he moved back to Ireland was published in 1999 with an introduction by Fintan O’Toole. Newry Gagarin Crosses the Border was inspired by the artist’s sense of personal connection with the cosmonaut (Hillen was born within hours of Gagarin’s historic venture into space) and his love of puns and wordplay.

Hillen’s work is in many private and public collections, including the Imperial War Museum. Tomorrow is Saturday an award-winning film documentary about Hillen’s life and work was broadcast on RTÉ in 2021.

Patrick Hogan is an Irish visual artist who works across a range of media including photography. His first solo exhibition of pho- tographs, Still (2012), was winner of The Gallery Of Photography Artist Award 2012. The monograph Still (2012) was published to acclaim and selected on a number of international photobook lists in that year, including Photo-Eye and Conscientious.

His work has been published and reviewed extensively. Photographic exhibitions include Landskrona Foto View, Sweden, Three Shadows Photography Art Centre, Beijing, China, PhotoIreland and Gallery of Photography, Dublin, Ireland.

Tobi Isaac-Irein was born in Ibadan, Nigeria and came to Dublin when he was six years old. A photographer and digital artist, he uses a combination of photography and photoshop to tell stories and convey the world around him as he sees it.

Tobi has worked in film production and also with many music labels. His artwork has been published in magazine and online media platform Slight Motif. In 2020 he was awarded a Creative Ireland & Dublin City Council Diversity Commission. For this Public Art Commission curated by Gallery of Photography Ireland and presented in 2021, Tobi drew on his own creative community to focus on the stories that artists, originally from the African Diaspora, experience when growing up in Ireland.

The work explores how this new generation of artists have integrated their traditional upbringing, beliefs and ideas into Irish culture, and how this process has culminated in a hybrid cultural identity that is shaping their creative output and that of the wider community.

Dragana Jurišić was born in Slavonski Brod, Croatia (then Yugoslavia). She is an award winning artist with an international reputation. Her project, My Own Unknown, has been exhibited globally including Gallery of Photography Ireland (2018); Centre Culturel Irlandais, Paris (2017); Rawson Projects Gallery, New York (2016); and Museum of Modern and Contemporary Art, Rijeka (2016). Jurišić’s photobook and series, YU: The Lost Country, has been exhibited at Noorderlicht Photogallery, Groningen (2018); Organ Vida Festival, Zagreb (2017); RHA Gallery, Dublin (2014); and originally at Belfast Exposed (2013).

She is in many collections including National Gallery Ireland, Trinity College, Dublin City Council. Her major work 100 Muses (2015) is in the public collection of the Arts Council of Ireland. In 2019, Jurišić completed the IMMA 1000 residency, and was nominated for the Zurich Portrait Prize at the National Gallery of Ireland for her portrait of poet Paula Meehan, from their collaborative book Museum, commissioned by Dublin City Council. Jurišić is an Assistant Professor at DCU since August 2019.

Jamin Keogh (b. 1982) holds a 1st class honours BA in Photography (IADT), a Masters in Art and Research Collaboration (IADT), and a 1st class honours Masters in Social Science (NUIM). Jamin has been involved as an artist, curator, and a visiting lecturer at numerous Irish third level institutions. His work has been shortlisted for the Inspirational Arts Award, and been shown at the Irish Museum of Modern Art (IMMA).

Moyross Study was exhibited in the 2018 PhotoIreland Festival, and was selected to represent Ireland at Unseen Amsterdam as part of the inaugural FUTURES Platform. The artist’s long term research project, A Constant Parameter, was selected by an international jury to be part of New Irish Works and was presented for the first time at the PhotoIreland Festival (2019). Moyross Study is a response to Henri Lefebvre’s argument that space is not a natural given, but instead is a social construct based on economic systems, hierarchical power structures and the class system, which shapes human perception and limits agency and autonomy.

The project also considers Lynsey Hanley’s work Estates: An Intimate History (2007), in which the author describes the overwhelming sense of segregation that exists in communities situated in social housing developments such as Moyross.

Jialin Long was born in Beijing and came to Ireland to study for a Masters in Electronic Engineering in 2006. After working seven years as an engineer in an Irish firm, Jialin made a swift career change in 2014. She took a PLC photography course at Pearse College and went on to graduate with first-class honours from IADT, winning a Gallery of Photography Ireland Graduate Award in 2020.

In 2020 she was awarded a Creative Ireland & Dublin City Council Diversity Commission. For this Public Art Commission curated by Gallery of Photography Ireland and presented in 2021, Jialin wanted to challenge the stereotyping of the Chinese community in Ireland.

In her work, she focused particularly on how the association of Chinese people with restaurants and takeaways inhibits a more nuanced understanding. She collaborated actively with those she photographed to build a deeper and more expressive series of portraits of this diverse but under-represented ethnic community.

Markéta Luskačová (b.1944) is a Czech photographer known for her series of photographs taken in Slovakia, Britain, Ireland and elsewhere. Considered one of the best Czech social photographers to date, since the 1990s she has photographed in the Czech Republic, Slovakia, and also Poland.

She has visited Ireland on numerous occasions where she was drawn to photograph pilgrimages and street life. Luskačová has published a number of photobooks throughout her career, most recently RRB Photobooks published By The Sea in 2019.

Her work is held in the National Gallery of Ireland Collection and major public collections internationally.

Shane Lynam (b. 1980) is an Irish photographer based in Dublin. His first book, Fifty High Seasons, was published in 2018. He is represented by Galerie Bertrand Grimont in Paris who presented his work at Paris Photo and exhibited Fifty High Seasons in 2019. He won the Gallery of Photography Solas award in 2015 and the Curtin O’Donoghue RHA award in 2018.

He was selected for a residency at the Irish Cultural Centre Paris in 2019 which included an exhibition at the Centre. He was the recipient of the Arts Council Visual Arts Bursary Award in 2022.

By spending prolonged periods photographing built environments and overlooked public spaces, and weaving the images together to create intuitive narratives, he looks to provide a fresh perspective on how we regard public spaces.

Alen MacWeeney (b. 1939) is an internationally renowned photographer, currently based in New York. At 16, he was given his first job as a press photographer at The Irish Times. Richard Avedon later hired MacWeeney and brought him to work in both his NYC and Paris studios. MacWeeney soon became impatient with the limitations of studio photography. He traded in his 120 camera for a new 35mm Leica, and began honing his skills in street photography.

In this period, he pursued personal projects, creating dark, expressive, and empathetic images of the people and landscapes of Ireland, including a ground-breaking series on Travellers. MacWeeney’s archive was recently acquired by University College Cork. His works are featured in the permanent collections of many prominent museums such as MoMA, the Art Institute of Chicago and others.

Dara McGrath’s practice is driven by overlooked human interruptions in urban, suburban and rural contexts. His project Operation Cleansweep was featured in the Solas Award in Gallery of Photography Ireland. McGrath’s latest body of work For Those That Tell No Tales focuses on Ireland’s War of Independence: a defining moment in Ireland’s history. Between 1919 and 1921, approximately 1,400 people died in the struggle for an independent Irish republic. Cork city and county saw the bloodiest of the fighting. Beyond the recognised memorials and major landmarks there are many more sites within the landscape where people lost their lives. This work was premiered at the Crawford Gallery in 2021.

Moira McIver (b. 1962) is an Associate lecturer in Fine Art teaching photography and video within the BA honours Fine Art course, Belfast School of Art. She graduated with a Master of Philosophy degree from the University of Ulster in 1996.

Moira McIver’s photographic and video art projects are often based on historical events and the interplay between mainstream perspectives and individual’s experience and recollection. Her previous research interests have been photographic and video art projects based on historical events from a contemporary female perspective. Her work often focuses on the interplay and tension between social history and the individual and how our sense of the physical body remains central to this discourse.

In more recent artwork, McIver uses historical photographic techniques as part of her research into social, political and gendered perspectives on early Irish photography.

Yvette Monahan is an Irish photographic artist from Sligo, who lives and works in Dublin. A graduate of the MFA Photography programme at the Belfast School of Art (2013), Yvette’s work has been exhibited extensively both in Ireland and internationally.

Yvette also holds an MA in Geography and Economics (1999) from Trinity College Dublin. In 2020, she completed a diploma in Art and Design at NCAD. In recent years, Yvette’s practice has changed from looking at stories held in the landscape to looking at stories held within. Her current practice looks to further her understanding of three main ideas, namely intuition, transcendence, and narrative. She engages with different processes to investigate these precepts, incorporating photography, drawing, sculpture and painting.

Yvette aims to create images that reflect the inner world and outer spaces.

Tony Murray is a Fine Art graduate from the National College of Art and Design and a lecturer in Media Production and Photography at the Technological University of Dublin. The first photographer to receive an Arts Council bursary in 1978, he was one of a small group of young photographers who documented social and religious events in Ireland in the 1980s and 90s.

He has exhibited widely in Ireland, England and France and his work has been published in many books and magazines. Murray’s book Holy Pictures captures the last vestiges of popular devotional practices once widespread in Ireland.

These vivid images from the late 1970s and early 1980s are a compelling record of an aspect of Irish life that has largely disappeared. By turns poignant and surreal, the photographs depict pilgrims, devotees and true believers against the backdrop of a changing Ireland.

Brian Newman is a photographer and filmmaker. He studied at University of Ulster, graduating with a BA (Hons.) Visual Communication and was awarded an MFA in Photography in 2016. His work has been widely exhibited in Ireland as part of Gallery of Photography Ireland’s Reframing the Border 5-year programme supported by the Department of Foreign Affairs Reconciliation Fund and the department of Tourism, Culture, Arts, Gaeltacht, Sport and Media, organised in partnership with the Nerve Centre and the Regional Cultural Centre, Letterkenny. An artist’s monograph Association, supported by the Arts Council of Northern Ireland and Gallery of Photography Ireland will be published in 2022.

Newman’s series Unsettled Border focuses on the Grand Orange Lodge of Ireland, an institution that exists within the divide of Irish and British identities. The work reflects on the remoteness and isolation of border Lodges, where diminishing numbers of Orange Order members secure the fraternity’s ageing meeting places. Newman’s work presents a portrait of the Orange Order that seeks to go beyond stereotypical representations to reveal a more nuanced, considered perspective.

Kate Nolan is an Irish visual artist based in Dublin, Ireland, focused on extended photographic stories that examine the nature of identity.
Drawn to in-between places, she is intrigued by the effects of shifting histories of areas in flux. Nolan collaborates with local communities over extended periods to give voice to these changes.

Her latest project LACUNA, is a multi-disciplinary project considering the contemporary experience, physical and psychological impact of the partition on the children of the borderlands. LACUNA’s first solo show was in the Gallery of Photography, Dublin, Ireland in September – October 2017 and is currently touring in Ireland.

Her work is held in public and private collections in Japan, USA, France, Portugal, Mexico, UK and Ireland.

Miriam O’Connor is an award-winning artist from Co. Cork. Educated at TU, Dublin, she completed a Research Masters at Dun Laoghaire Institute of Art Design & Technology in 2011. In her practice she draws inspiration from the sights, sounds and language of everyday life.

She is curious about the multifaceted roles photography occupies in culture and the manner in which this persuasive medium permeates the way we engage with the world around us. Developed over many years, O’Connor’s Tomorrow is Sunday project reflects on the day-to-day demands of farming life. Specifically, it engages with her return to the family farm following the death of her brother in 2013, exploring photography’s role in communicating the magnitude of this life-changing event.

Tomorrow is Sunday was published in conjunction with A Woman’s Work by the Gallery of Photography Ireland (2021). The work was also staged in solo shows in Macroom Town Hall and the Ashford Gallery at The Royal Hibernian Academy and Sirius Arts Centre. In addition to her art practice, and farming, O’Connor also lectures part-time at Griffith College Dublin.

Kenneth O’Halloran is a photographer based in Dublin. He was born in the West of Ireland and is a graduate of the Institute of Art, Design and Technology in Dun Laoghaire, Dublin. He holds a Masters in Fine Art Photography from The University of Ulster, Belfast.

O’Halloran’s series The Handball Alley surveys the relics of a once vibrant chapter of Irish life. The ruins, mapped and photographed by O’Halloran, bear silent testimony to the passing of time and to the changing dynamics of rural communities.

Like the dolmens that John Montague offered as a metaphor for the old people of his childhood, these modern ruins are liminal structures, open- air theatres where the ghosts of a lost civilisation linger. This series was exhibited as part of O’Halloran’s exhibition Modern Ruins and Other Stories at Gallery of Photography Ireland and at Glór Ennis in 2018.

Mandy O’Neill is an Irish visual artist based in Dublin. Her photographic practice has drawn on themes of youth, adolescence, and education, with a particular emphasis on portraiture. She has an MA in Public Culture Studies from the Institute of Art, Design and Technology, Dublin and a BA in Photography from the Dublin Institute of Technology.

O’Neill is currently a PhD candidate at Dublin City University, where she was also artist in Residence from 2019-2021. Her work has been exhibited widely both nationally and internationally, including National Gallery of Ireland, Royal Hibernian Academy Dublin, VISUAL Carlow, Center Cultural Paris, CFEVA Philadelphia, Draíocht Dublin, PhotoEspana, Hamburg Triennale of Photography and the European Month of Photography Berlin.

She has been shortlisted for the Hennessy and Julia Margaret Cameron Awards and was the winner of the Zurich Portrait Prize 2018. Recent commissions include a Public Art installation at Gaelscoil Bharra Primary School, Dublin, the Central Bank of Ireland, The Digital Hub, and the National Gallery of Ireland. Gallery of Photography Ireland presented All Quiet at the Back, a solo exhibition of her work in 2019.

Tony O’Shea (b. 1947) studied English and Philosophy at University College Dublin and towards the end of the 1970s became increasingly interested in photography. By 1981 he had begun working full-time as a photographer with In Dublin magazine and later for the Sunday Business Post.

His first book Dubliners, including a text by Colm Tóibín was published by Macdonald Illustrated in 1996. A legendary figure in the context of Irish photography, O’Shea’s work occupies a pivotal role in the history of documentary practice here. Beginning in 2017 Gallery of Photography Ireland undertook the work of digitising O’Shea’s extensive archive. As a result of this a major retrospective titled The Light of Day was co-published by RRB Books and Gallery of Photography Ireland in 2020.

The exhibition of that work will be staged in the Gallery in December 2022.

Pete Smyth is a documentary photographer and social activist. One of Ireland’s leading documentary photographers, Smyth has lived and worked in the area for over 30 years. Over this period of time Smyth photographed aspects of life in his local community and has produced a uniquely intimate account of the place and its people.

His work was presented as a major retrospective exhibition curated by Gallery of Photography Ireland, which premiered at RUA RED Gallery, Tallaght in 2019. Pete continues to make work in his community in West Dublin. Smyth’s LOCAL exhibition and artist’s monograph brought together Smyth’s renowned portrait series Travellers and View from the Dearth, alongside his recent work charting street and nightlife in and around Tallaght.

Aware of the complexities of his dual role of observer and participant, Smyth’s close, personal engagement with his subjects is visible throughout the work. Smyth’s unsentimental representation of Tallaght and its people makes visible the social and physical transformation the area has undergone from a socially deprived outlying suburb to an urban centre with a strong sense of community.

Nigel Swann (b. 1962) studied at the National College of Art and Design, Dublin, graduating in 1985 with a BA in Fine Art Mixed Media. He subsequently worked in photography based industries in London and elsewhere. Swann completed his Photographic Masters in Fine Art at the University of Ulster in 2019.

Swann’s project The Borderlands surveys an intriguing location, known locally as ‘The Black Pig’s Dyke’, a 2000-year- old boundary that runs parallel to the present-day Irish / UK border. After Brexit, it now shadows another border, that of the European Union and the UK. After independence in 1922 and in particular, during the ‘Troubles’ the border was visible and instrumental in defining identities. Since the Good Friday Agreement of 1998 travelling along and across this border there have been no physical expressions, no watchtowers, fences or walls, it is unseeable, it is a virtual psychological construct.

The ancient dark physicality of the Black Pig’s Dyke alongside the architectural clarity of the disused Cahans Presbyterian Meeting House in the border county of Monaghan act as a conceptual starting point for this inquiry into the border.

Dublin-born Harry Thuillier Jr (1964-1997) studied photography in Memphis College of Art and completed his BA in Fine Art Photography in Boston before studying under Jerry Uellsmann in Florida. On his return to Dublin, he took up large format photography and honed his skills in the complex and demanding art of Platinum/Palladium printing – a difficult, painstaking process that dates from the very beginnings of photography.

His subject matter was noted for its particular darkness: ancient skulls, limbs decorated with opium pods and ethereal, otherworldly nudes. Garnered on endless, restless journeying, his images have the air of being snatched in extremis. They are things at the edges of the world, the fringes of experience.

Thuillier continued to develop his compelling and fascinating work until his tragic death in Milan in December 1997. A posthumous major retrospective of Thuillier’s work was staged in the Gallery of Photography Ireland in 2000.

George Voronov (b. 1993) is a fine-art and documentary photographer currently based in Dublin, Ireland. He completed an MFA in photography at Belfast School of Art. Voronov has been shortlisted for the Leica Oskar Barnack Award, FOAM Talent Issue and PhotoIreland’s New Irish Works program. He balances his personal artistic practice with editorial and commercial commissions. Voronov’s project We Became Everything is concerned with photographing what a spiritual experience feels like as well as the young people who search for them.

These peak states of consciousness when one becomes aware of one world bleeding into the other are what we have come to know as religious experiences. These phenomena are defined by fleeting revelations, subtle rifts in reality, and a feeling of connection to the divine. In these instances, the banal gives way to the sublime. They are, in effect, metaphysical decisive moments.

Róisín White is a visual artist based in Dublin. She works primarily with photography, while incorporating drawing, sculpture and collage into her practice. White holds a BA (Hons) in Photography from DIT, and certificates in Ceramics and Sculpture from NCAD.

Her work draws from archival materials and seeks to create a dialogue with our forgotten histories through the use of found photography and ephemera. She has an interest in exploring lore and the fictional narratives that can be discovered in discarded imagery. Her work seeks to agitate previous understandings and draw out new meanings.

White has exhibited her work at The Library Project, Futures Photography and Parallel European Photography Platform in 2018/9. In 2021 she presented a solo exhibition at Pallas Projects, Dublin.