The intention with each stone was to create an encounter — something that reflects the complexities of how we interact with the land. Concrete demonstrates this tension: a manmade material, dating back to ancient Rome, that has shaped and interfered with the landscape across time.
It’s a complicated and ubiquitous substance. Made from three basic ingredients — like bread — it begins to cure and solidify the moment they’re combined. If left unreinforced, it slowly breaks down. I’m drawn to this process, to the aesthetics of ruination — and to the human impulse to carve names into surfaces, scarring the land in an attempt to affirm our existence.
Concrete holds a kind of materiality that sits at the opposite end of the spectrum to photography. The image carries its own logic — one tied to consumption. Concrete positions the body; it tells you who owns the land. The photographic image positions your perception; it shapes how you see the land, and what to desire within that view.
First image: Breastagh Ogham Stone
— 54°14'25"N, 9°15'19"W
Mary Louise Grossman, John N. Hamlet, 1988 — Page N° 196
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Challenging institutional representations of the living environment, her work creates encounters that aim to alter viewers’ preconceptions, revealing the complex boundaries that shape human- animal-land relations.
Sint Lucas School Of Arts Antwerp
BA Photography
School Of Creative Arts, TUD Dublin
BA Photography (Erasmus)
Paris 8 University
Bachelor Of World Religions & Theology
Trinity College Dublin