In an audacious exploration of identity and artistry, Richard Malone is set to unveil his vibrant fabric sculptures at the Council of the European Union’s Justus Lipsius and Europa buildings. As Ireland assumes the EU presidency, Malone’s installation, titled *Cuimhne agus Séadchomhartha* (Memory and Monument), aims not only to beautify the austere environment of Brussels but also to challenge the traditional narratives surrounding Irish art.
A Farm Studio and an Artistic Vision
Speaking from his studio—a farm nestled in Stradbally, County Laois—Malone’s surroundings are a curious blend of rustic charm and artistic ambition. “If you hear any neighing, it’s not me!” he chuckles, referring to the farm’s lively inhabitants. This setting, complete with lambs and a chorus of dogs, fuels his creative process as he prepares for this significant installation.
His latest work, a series of five-metre sculptures, embodies the interplay between fragility and strength, reminiscent of mythical beings. Malone’s mission is clear: to rewrite what it means to be Irish in an artistic sense. “A lot of artwork in Ireland was predominantly made by one type of man,” he states, reflecting on the historical oversight of contributions from queer and female artists. His assertion challenges the status quo, questioning why certain crafts, like stitch samplers and quilts, remain excluded from mainstream collections and educational curricula.
Crafting a New Narrative
Malone’s artistic journey is deeply rooted in his upbringing. Hailing from a working-class family in Wexford, he learned the significance of practical skills from his decorator father. By the age of seven, he was adept at driving, and his teenage years were spent honing his craft on various building sites. “I’m very sensitive to colour,” he remarks, a skill developed from countless hours observing paint dry.
His path diverged from conventional education; it was his grandmother who instilled in him a love for sewing, igniting a passion that defies gender norms in the craft world. “I want to elevate traditional, overlooked crafts to the form of fine art,” he asserts, aiming to dismantle the binaries that often restrict artists and their expressions.
From Fashion to Fine Art
After studying sculpture in Carmarthen, Wales, Malone found himself out of place in the fashion industry, despite his talent. He crafted bespoke pieces for affluent clients and collaborated with renowned artists such as Björk, yet the world of consumerism left him disillusioned. “All you have to do when they email is say no,” he reflects on the ethical dilemmas faced by many in the industry.
An internship at a luxury fashion house opened his eyes to the unsustainable practices that pervade the sector. “So much of the judgment of your work is based on how much you sell,” he laments, questioning the need for mass production in a world increasingly aware of its environmental responsibilities. A pivotal moment arrived in 2017 when he designed a jumpsuit for a significant exhibition at MoMA, which helped him transition into the art world, despite initial reluctance from critics regarding his categorisation.
A Personal Legacy
The recent passing of Malone’s father, James, adds another layer to his artistic narrative. James played a crucial role in many of Malone’s exhibitions, contributing practical knowledge and support. “He helped me think about practical things such as rusting,” Malone remembers fondly, highlighting the collaborative nature of their relationship.
As Malone prepares for his installation in Brussels, he acknowledges the complexities of working within a space laden with security protocols and expectations. “There’s a lot of red tape around the safety of the building,” he notes, contrasting his delicate works with the steel and glass architecture of the EU headquarters. His approach is a daring departure from the polished sculptures typically favoured by previous presidencies, a testament to his desire to provoke thought and encourage dialogue about art’s role in society.
Why it Matters
Malone’s *Cuimhne agus Séadchomhartha* serves as both a celebration of Irish identity and a critical examination of the narratives that have historically dominated the art world. By amplifying the voices of those often overlooked, he invites audiences to reconsider their perceptions of art and its creators. This installation is not merely about aesthetics; it is a bold statement on inclusivity and the importance of diverse perspectives in shaping cultural heritage. As the world watches, Malone’s work at the EU Council could very well redefine the boundaries of contemporary art and the stories it tells.
