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My practice is hybrid in its approach encompassing painting, printmaking and collage. It takes as its starting point found ephemera and material references that come out of an Irish rural experience and in particular their relationship to ideas of home and gendered space. Bearing the history of its own making the work appears as pseudo landscapes held together by quasi-architectural fragments and semi-familiar forms. The materiality of making in the studio is held within the work where references to a stage-set or performed space is also played out. More recently the work folds in ideas of the gendered body and motherhood where bodily fragments emerge, interact and dissolve within the fragmented spaces. Shadow, touch and tactility become important within the work, asking what does it mean to inhabit a body?


Clancy is a lecturer in Fine Art at Ulster University. In 2006 she gained her MFA and later completed a practice led PhD that examined ideas of gendered space through paint and print practice also at Ulster University (2012). Recent exhibitions include: IMPACT 12, International Printmaking Conference, Bristol (2022), Future Forward, curated by Jane Morrow, MART Dublin and QSS Gallery, Belfast (2022), IMPACT 11, International Printmaking Exhibition, Hong Kong, (2021), How the Image Echoes, Ulster University Gallery, Belfast (2020) and PS2, Belfast (2019), prINT, invited artist, Munsterland Print Festival, Kloster Bentlage, Rheine, Germany (2019). Her paper ‘The Thinking I: Self, Materiality and Paint Practice’ will be published in Teaching Painting: A Publication, Cambridge Scholar, UK, (2023). Clancy also presented ‘The Act, The Idea and The Thing: Painting as Research’, at the International Congress on Contemporary European painting, University of Porto, Portugal (2022). Her work is held in public and private collections including, Department of Finance NI, Queens University Belfast, Arts Council of Northern Ireland and Ulster University Permanent Collection. 


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