Wild Accumulations

In this exhibition, large colourful biomorphic forms can be seen to engulf, embrace and envelop each other - threatening to swallow each other whole - while newly “spat-out” structures are immersed in the act of becoming. Using familiar materials such as organza fabric and aluminium wire, these become the skin and bones of the suspended sculptures on display, which contain embryonic forms. 

The large-scale painting and sculptural installation presented here in Wild Accumulations arise from the sheer joy of allowing the work to grow organically, each piece “carried by the surprise of its own unfolding” as inspired by John O'Donohoe’s unfinished poem 'Fluent' from CONAMARA BLUES. Each piece in this exhibition responds to the previous one, as if in dialogical communication. 

Important considerations in Karen’s work are colour and the vibrational language of colour, which in these works create a perceptual atmosphere by attracting, repelling, soothing and agitating. 

According to the artist, the making of this work is intimately linked with the experience of being present, being in the here and now, and the actuality of engaging with the physical materials and the ensuing material processes, while simultaneously responding to a physical space. In many ways, this work imitates how perception occurs, at one point, offering an infinite number of possible interpretations, leaving the final understanding open for the viewer to best guess, make leaps or assertions and decide for themselves their interpretations of the work. 

Using questioning as an important part of her artistic process, big questions run like rivulets of inquiry throughout Karen’s work such as those relating to the interconnectedness of all that exists; from phenomenal to noumenal reality - from the known as experienced through the senses to the unknown, or what 18 th century philosopher Immanuel Kant refers to as “das ding an sich” (the-thing-itself). With emphasis on this, Karen’s work is concerned with the nature of primed perception, consciousness and the complexities involved in how we interpret and navigate the world around us.   

Artist Biography 

Karen Ebbs is a Dublin-born visual artist, a painter who makes large-scale biomorphic painting and sculpture installations. Her approach is processed-based and haptic using a range of materials including oil paint, copper earth rods, basalt plaster, high-density foam, plexiglass, fabric and videography; alternating intuitively in a circular, conversational motion between drawing, painting and sculpture. 

Currently completing an MA in Fine Art at NCAD, her recent exhibitions include: New Beginnings at The LAB Gallery, Feb 2022; Metamorphosis with Artnetdlr, March 2022; Lucky No. 7 Collaboration, co-founded and co-curated by Karen Ebbs, November 2021 and Positives: Painting in the Pandemic with the National Treasury Management Agency, 2021. 

A recent first-class honours and highly commended graduate from NCAD, a participant of the Clancy Quay Professional Development Programme and recipient of the Hang Tough Contemporary Print Award, Karen has given multiple artists talks at the likes of Ormond Art Studios and NCAD, and has been awarded residencies by the Tyrone Guthrie Centre and Cill Rialaig. Publications include the Art Folio Annual 2022 Publication, the John Richardson French Residency 2021 Shortlisted + Catalogue and the HCE Review UCD, April 2018 Edition. 

Previous adjudicated selections include London Design Festival 2014, the Crafts Council of Ireland 2014 and the Pearse Museum, 2014. In addition to Wild Accumulations at The LAB Gallery, March 2022; Karen will exhibit at the Cowshed Gallery at Farmleigh Estate in August 2022. 

Website: www.karenebbs.com 
Instagram: karen.ebbs 
Email: karenebbs@gmail.com