As Ireland takes the helm of the European Union presidency, artist Richard Malone has seized the opportunity to showcase his distinctive fabric sculptures at the EU’s headquarters in Brussels. His installation, titled *Cuimhne agus Séadchomhartha* (Memory and Monument), challenges traditional narratives of Irish culture while highlighting the often-overlooked contributions of women and queer artists to the art scene.
A Unique Studio Environment
In a rather unconventional workspace on a farm in Stradbally, County Laois, Malone’s artistic flair is complemented by the lively sounds of nature. “Just so you know,” he quips, “if you hear any neighing, it’s not me!” The farm, brimming with playful lambs and an entourage of dogs, serves as the perfect backdrop for his latest creations.
Malone’s current project for the EU involves five-metre sculptures that blend bold colours and intricate designs, evoking the appearance of mythical beings. He aims to rewrite the narrative surrounding what it means to be Irish, an ambition he articulates with piercing clarity: “A lot of artwork in Ireland was predominantly made by one type of man.” This observation sheds light on the historical erasure of contributions from diverse artists, particularly women and those from the LGBTQ+ community.
Challenging Historical Narratives
Malone’s work serves as a powerful critique of the art historical canon, which he argues has been shaped by the elitist perspectives of British men on their grand tours. “When they encountered textiles, they were more interested in the gold than the craftsmanship,” he explains. This tendency to overlook the beauty and significance of stitch samplers and quilts raises critical questions about what art is valued and why certain creators remain unrecognised.
His artistic mission extends to the EU’s presidency suites, where he is curating contemporary works by Irish artists. These include not just sculptures but also functional pieces like sofas and rugs, transforming the spaces into a celebration of craft and creativity. His upbringing in a working-class family, combined with practical skills learned from his decorator father, informs his approach to art, blurring the lines between fine art and everyday objects.
From Fashion to Fine Art
Malone’s journey into the art world was anything but straightforward. After studying sculpture in Wales, he found himself at Central Saint Martins in London, where he felt out of place among his fashion peers. His initial foray into bespoke fashion for affluent clients, including collaborations with the iconic Björk, was overshadowed by disillusionment with the industry’s ethical shortcomings. “I think everyone needs a bit more integrity,” he states, reflecting on the pressure to compromise artistic values for profit.
His transition to the art sector was met with scepticism, but a pivotal moment came in 2017 when he designed a piece for MoMA’s exhibition *Items: Is Fashion Modern?*, which helped to establish his credibility as a serious artist. His recent work for the Royal Academy of Arts, including a striking blue sculpture entitled *Filiocht Faoi Bhron, as an Dorchadas* (Poem in the Dark About Sadness), showcases his unique ability to blend art with personal experience and technical skill.
A Personal Touch Amidst Bureaucracy
As Malone prepares to unveil his work at the EU, he acknowledges the complexities of creating art in such a high-security environment. “There’s a lot of red tape around the security and safety of the building,” he notes, highlighting the challenges of working in a space that must also consider global threats. While other artists have chosen robust, polished pieces, Malone’s fragile sculptures stand in stark contrast to the steel and glass of the EU buildings, inviting viewers to reflect on the tensions between fragility and strength.
His artistic practice is not simply about aesthetics; it’s about provoking thought and challenging conventions. He embraces the unique elements of his studio space, even if it means sharing it with a horse. “If that’s what it takes to question the status quo, then so be it,” he asserts with a grin.
Why it Matters
Richard Malone’s work is a clarion call for a re-examination of the narratives that shape our understanding of art and culture. By foregrounding the contributions of historically marginalised voices, he not only enriches the tapestry of Irish identity but also invites a broader conversation about representation in the arts. As his *Cuimhne agus Séadchomhartha* installation opens to the public, it serves as a reminder that the stories we tell—and the materials we choose to celebrate—are as vital as the art itself. This is not merely an exhibition; it is a movement towards inclusivity and recognition in a world that often overlooks the very fabric of our diverse cultures.
