As Ireland assumes the presidency of the European Union, artist Richard Malone seizes the opportunity to showcase his striking fabric sculptures at the EU Council’s headquarters in Brussels. His installation, Cuimhne agus Séadchomhartha (Memory and Monument), not only highlights the artistry of textiles but also raises pressing questions about representation in the art world. From his unconventional studio on a farm in County Laois, Malone reflects on his journey and the need to redefine Irish identity through art.
A Farm Studio and Equine Companions
“Just so you know, if you hear any neighing, it’s not me!” Malone quips as our conversation begins. He is nestled in a rural studio surrounded by playful lambs and a cadre of dogs, a serene backdrop for the creation of his five-metre sculptures. The farm, with its sprawling lambing sheds, serves as an ideal haven for his creative process, allowing him the space to conjure his vibrant fabric masterpieces.
Commissioned for the Council of the European Union’s Justus Lipsius and Europa buildings, Malone’s installation aims to reinterpret what it means to be Irish. “A lot of artwork in Ireland was predominantly made by one type of man,” he asserts, underscoring how historical narratives often overlook the contributions of queer and female artists. “What we see in museums is frequently filtered through the perspectives of British men on grand tours,” he adds. This systemic oversight has led to the erasure of significant artistic voices, particularly those associated with fabric and stitch.
Redefining Irish Art
Malone’s work is not just about aesthetics; it serves as a critique of the historical art canon. “Why aren’t certain stitch samplers or certain quilts collected? Why are certain artists not on our curriculum?” he challenges. His mission is clear: to elevate traditional crafts often dismissed as mere domesticity into the realm of fine art, thereby acknowledging the rich tapestry of Irish culture.
With his keen sensitivity to colour—a skill honed during long hours watching paint dry as a child—Malone is well-equipped to bring vibrancy and depth to his installations. His upbringing in a working-class family in Wexford instilled in him a strong foundation in practical skills, thanks to his father, a decorator who taught him the nuances of design and craftsmanship from an early age.
From Fashion to Fine Art
Malone’s artistic journey has taken a winding path through the world of fashion, where he initially felt out of place. After studying sculpture in Carmarthen, Wales, he ventured into fashion at Central Saint Martins in London, crafting bespoke pieces for affluent clients. Yet, the industry’s ethical dilemmas soon disillusioned him. “All you have to do when they email is say no,” he remarks about the pressure to promote unethical brands. His commitment to integrity pushed him toward the art world, where he could blend his passion for textiles with meaningful commentary.
A pivotal moment came in 2017 when he designed a jumpsuit for MoMA’s exhibition, Items: Is Fashion Modern? This project helped bridge the gap between fashion and fine art, leading to further recognition, including a recent commission from the Royal Academy of Arts in London for their summer exhibition.
A Personal Touch Amidst Institutional Rigour
Malone’s artistic endeavours are deeply intertwined with personal narratives, particularly the influence of his late father, James. Before his passing earlier this year, James played an active role in Malone’s exhibitions, contributing practical insights that grounded his son’s ambitious visions. Their collaborative spirit was evident in projects responding to significant figures in art and architecture, such as Eileen Grey.
As he prepares for the EU exhibition, Malone is acutely aware of the complexities involved in presenting art in such a high-security environment. “There’s a lot of red tape around the security and safety of the building,” he notes, acknowledging the challenges posed by stringent regulations. His choice to present fragile, delicate works within the imposing glass and steel structures of the EU headquarters is a deliberate act of subversion, compelling viewers to reconsider their assumptions about strength and fragility.
Why it Matters
Richard Malone’s work at the EU Council encapsulates a larger conversation about the representation of diverse artistic voices and the narratives that shape our understanding of culture. By challenging conventional artistic hierarchies, Malone not only reclaims the significance of textiles and craft but also invites us to question who gets to tell the stories of our heritage. In a world where art can often reflect and reinforce societal norms, Malone’s installation serves as a bold testament to the transformative power of creativity, urging us to embrace a more inclusive vision of art and identity. As Cuimhne agus Séadchomhartha opens its doors in Brussels, it stands as a beacon for those advocating for a richer, more nuanced understanding of what it means to be Irish—and, indeed, human.
