The NCAD Gallery & NCAD Research Office present NCAD Staff research outputs in the inaugural NCAD Research Exhibition & Programme 2026. All are welcome to attend! The Exhibition & Events Programme continues from 20 March – 17 April 2026, Mon – Fri, 11AM-6PM.

RESEARCHER - PRACTITIONERS / EXHIBITORS
Áine Byrne | Michelle Browne | John Conway | Niall Cullen | Yvonne Cullivan | Janine Davidson | Neil Dunne | Sarah Durcan | Emma Finucane | Mary A Fitzgerald | Rory Hanrahan | Vivian Hansbury | Catherine Harty | Ramon Kassam | Anne Kelly | Gareth Kennedy | Emma Mahony |
Jamie Murphy | Kathy Mooney | Tom O'Dea | Rónán Ó Raghallaigh | Jye O'Sullivan & Renato Pera | Seoidín O'Sullivan | David Timmons | Rachel Tuffy | Fiona Whelan | Aoife Ward & Eve Woods.

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NCAD RESEARCH EVENTS PROGRAMME - Please find detailed information further below.
Listings Timed for Ireland (GMT+0) & located in the NCAD Gallery.
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1. Thursday, 19 March 2026. NCAD Research Exhibition Launch (6-8PM) & FIELD Guide Launch (4.30PM). Opened by Dr Marcus Collier, associate Professor of Sustainability Science and project lead on Noveleco project with Guide editors Gareth Kennedy and Seoidín O'Sullivan.
2. Tuesday, 24 March 2026, 1-2PM. AI Experiments Talk Presentation with Rory Hanrahan.
3. Wednesday, 25 March 2026, 1-2PM. Contemplating Carbon: Type, Paper and Ink Performance Lecture with Jamie Murphy.
4. Thursday, 26 March 2026, 1-2PM. Wet Epistemologies perfromance lecture with Jye O’Sullivan.
5. Friday, 27 March 2026, 2-4PM. Artistic Research in Health Contexts with presentations from Emma Finucane, John Conway, Yvonne Cullivan.
6. Tuesday, 14 April, 1-2PM. Artist Performance Lecture with Catherine Harty.
7. Wednesday, 15 April 2026, 2-4PM. Legacy of SpaceX-Rise with presenters Michelle Browne, Anne Kelly, Gareth Kennedy, Emma Mahony, Tom O’Dea, Seoidín O'Sullivan, Fiona Whelan.
8. CANCELLED DUE TO UNFORESEEN CIRCUMSTANCES: A Cultural Tour of Hotels in the Liberties Walking Tour with Aoife Ward & Eve Woods.
9. Friday, 17 April 2026, 11AM-1PM. Durational Weaving & Department Walk-Through with Áine Byrne, Kathy Mooney, Rachel Tuffy.

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NCAD Gallery Map. Please find EVENTS LISTINGS information further below. 

EXHIBITION listings below corresponding to the Gallery Map above.
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1.
Jye O’Sullivan & Renato Pera – Listening Practices: Body, Image, and Sound as Transdisciplinary Fields, 2025, sound and visuals on monitor, modular synthesis and field recordings collected between Dublin and Rio. (See more contributor names on wall text.)
This sound piece is inspired by work completed with the State University of Rio de Janeiro on decolonial approaches to sound and the destablisation of bodies. It would be a performance lecture with accompanying sound that draws on an article I am publishing for a special edition of Concinnitas. The work functions as a guided meditation through a soundscape that examines the porosity of bodies when confronted with sonic infrastructure.
Jye O’Sullivan is an art historian and researcher of visual cultures. Their research has previously focussed on the intersections between artistic practice and cybernetics, with a specific focus on the artistic uses of cybernetics within a Latin American context. Jye’s present research interests include, art and cybernetics, contemporary art from Latin America,  posthumanism, queer ecology, ecological ethics and the philosophy of technology.
Event: Wet Epistemologies: Performance Lecture with Jye O’Sullivan.  Thursday, 26 March 2026, 1-2PM, NCAD Gallery. Duration: 45 minutes.
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2.
Jamie Murphy, Contemplating Carbon: Type, Paper and Ink.
'Carbon is the basis for all life on earth, and the harbinger of our demise.' CARBON is an artist book project Jamie has been developing for the last five years. From new wood type, to diamond infused papers and exhaust-soot-ink pochoirs. In this (image and film) illustrated talk Jamie will discuss this project's origins, research, experimentation and the multitude of collaborations and processes employed in its making.
Event: Contemplating Carbon: Type, Paper and Ink: Performance Lecture with Jamie Murphy. Wednesday, 25 March, 1-2PM, NCAD Gallery. Duration: 45 minutes.
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3. & 8.
Mary A Fitzgerald (Map 3 & 8)
3. The Stretch, 2025, 100x 120 cm, Acrylic on canvas. Price: 2100 eur.  
8. Assembly, 2025, 24 cm x 30 cm, Acrylic on gesso Board. Price: 675 eur.
Mary Fitzgerald’s practice initially had a primary focus in the medium of printmaking. In recent years, however, her work has expanded in methodology and interest to a point where painting is the dominant medium. Fitzgerald’s vocabulary of iconography originates in the everyday; an eclectic gathering of images, daily random observations entangled with memory and recall. These ‘new realities’ with their combination of personal narrative, of momentary and fleeting images, are brought together, transformed and communicated through the process of painting/printmaking. The work creates suggestions of place and object, but also incorporates private sensation and experience.  The images play with our perceptions of literal and emotional space, revealing the extent to which we can never be certain of what we know, see or feel. The process of revealing and concealing the narrative, of scraping back creates a history and archaeology of daily encounters and through layer iterations within each piece. Paintings and prints evolved in a progressive manner, undertaking a series of incremental decisions. Images emerge which bounce between opaque abstractions and recognizable forms. A constant search for new possibilities within and between images. Each work enjoys both a tangible and a subliminal existence. The spaces and silences created in- between remain for the observer to explore.
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4. & 5.
Áine Byrne (Map 4 & 5). ‘Double Yellow’, 2026, 100 X 50cm - Stripped up tarp, tape yarn, silk and wool woven on cotton warp, road marking spray and electrical tape. ‘Junction’, 2026,  40 X 40cm - stitched packaging tarp using knitted tape yarn, road marking spray and electrical tape. 
This series of woven artworks examines the hierarchies and value systems assigned to materials, pattern, and colour in the urban landscape. Developed following a residency in Thailand in 2023, the series draws from visual observations of market stalls, roadside markings, and temporary structures. The work investigates materials often considered low value, such as tarpaulin, with traditionally valued handwoven fibres including silk, cotton, and wool. Through weaving, these materials are brought into dialogue, questioning inherited ideas of material and labour.
Áine Byrne is an Artist, Designer, and Educator working in Dublin. She received her Textile design MA in 2015 at the Royal College of Art, London and Textiles BA hons at NCAD in 2012. Áine’s studio practice involves textile design and construction (woven textiles), photography, sculpture, and costume. 
Event: Durational Weaving with Áine Byrne, Kathy Mooney, Rachel Tuffy. Friday, 17 April 2026, 11AM-1PM, NCAD Gallery.
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6.
Rónán Ó Raghallaigh. Ilchruthach, 2026, Archival Material, table with chairs.
Ilchruthach is an artist archive collecting references to pre-Christian Irish belief in visual art after 1960. Informed by Rónán’s library assistant work in NIVAL, references to relevant artist’s work are retained alongside media, photographs, writing and objects. 
The material here is a series of Ilchruthach documenting venerated sites in their environments- fairy trees, stone circles, holy mountains and more. It contains artist ephemera, media reporting vandalism of venerated sites, photographs and meditation journal entries from site visits carried out by Rónán between 2022 and 2025.  
Rónán Ó Raghallaigh is an artist and researcher from Kildare. He has an MFA Art and the Contemporary World (NCAD, 2021), has exhibited in solo and group exhibitions nationally and internationally.
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7.
Aoife Ward & Eve Woods. The crust, the mantle & the core, 2023, permanent and neon marker on tracing paper edged with hi-vis cloth tape.
Three hand drawn maps depict quantitative data gathered by the artists for their walking tour of the Liberties. The abstraction of this data is comparable to the abstract and hazy promises made by the council to support the area. 
The artists feature map making in response to the changing landscape of The Liberties area, and research into the planning and the promises behind it.  This research output explores the failure of the planning system to preserve and protect communities through provision of space.
Map 1 shows the streets and green spaces. Map 2 depicts transient accommodation, including hotels/aparthotel/airbnbs/co-living. Map 3 shows cultural spaces that are here, have gone, or have been promised and not yet arrived. (note: the artists could not physically draw every Airbnb).
Aoife Ward and Eve Woods work together as Con: temporary Quarters since 2022; a collaboration inspired by the rapidly changing landscape of Dublin city. This project focuses on the replacement of cultural and community spaces, unique architecture and amenities with large, closed developments pushing users towards a short term lifestyle through anti-community focused architecture. They have presented a number of performances and public artworks including A Cultural Tour of Hotels in The Liberties' (2022), An Couch Pleanala (2022), How to Exist in a Public Space (2022), Open House (2023). In 2023 they exhibited Con:temporary Quarters, in StayCity Tivoli’s ‘exhibition space’. This exhibition exposed the failure of the planning system to preserve and protect communities through provision of space.In 2025 they exhibited in Liquid Urbanisms, curated by Clara McSweeney, in The Lab Gallery, and  in The Cosmos, The Earth and Us, in A4 Sounds, Dublin.
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8. Mary Fitzgerald - see note .3 
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9.
Niall Cullen. Crosses, Salt Lamps and Fires, 2026, video.
Cullen's research investigates bootlegging and taroting as interlinked artistic methodologies for generating outcomes through appropriation, intuition, and editorial chance. These methodologies were developed over a two-year period through engagement with two CFA courses: Creative Approaches to Archives and the Professional Certificate in Art and Design Research. Bootlegging, within the research, refers to the intentional reappropriation of material, images, texts, audio and moving image. Influenced by archival thinking explored during Creative Approaches to Archives, bootlegging operates as a way of working with existing materials while questioning authorship, authenticity, and ownership. These fragments are recontextualised and combined with other fragments, allowing collective histories and personal memory to overlap and form new narritives.
Niall Cullen is a visual artist, filmmaker, and musician working within an expanded, multidisciplinary practice. He holds a First Class Honours degree in Sculpture from the National College of Art and Design, Dublin (2014), and in 2023 completed a year at Turps Art School, a London-based alternative painting programme. He is recently received the first ever Irish Arts Council Multi-Disciplinary Arts Bursary (2025). He received the Irish Arts Council Agility Award in 2021, 2022, and 2024 across both Visual Art and Film. Cullen currently works as a technical officer in the NCAD Painting Department and recently completed three Level 9 Certificates—Creative Approaches to Archives (NCAD), Professional Cert in Art and Design Research (NCAD) and Digital Sculpting (IADT)—as part of his ongoing professional development. His work has been exhibited and screened internationally in cities including Paris, London, New York, Los Angeles, Barcelona, Stockholm, Gothenburg, Rotterdam, and throughout Ireland.
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10.
David Timmons. 'Blue icing..', digital print, edition of 15, 110 x 160 cm, 750eur.
David graduated with a BA in Fine Art from NCAD in 1998 and has a Masters degree from the Royal College of Art, London 2002. David works as a lecturer in  First Year Art & Design Studies, the common first year for all NCAD studio based students.  He also works in the Department of Communication Design where he teaches second and final year students on the Moving Image Design programme.
His research and art practice interests include storytelling and drama.
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11. & 12.
Ramon Kassam. Hedge School of Painting (Exhumed Works), Acrylic on line, 51 × 41 cm and 41 × 51 cm, 2024–26. Listed as a Pair (above).
Ramon Kassam is an artist and lecturer currently teaching at NCAD, Dublin, and SETU, Waterford. Painting forms the basis of his art practice. His approach involves casting paintings into semi-fictional worlds, aiming to connect the medium’s visual tradition to the landscape and psyche of our environments.
From this practice emerges The Hedge School of Painting. The Hedge School of Painting is a speculative construct that draws its title from the historical Irish hedge schools — informal, clandestine sites of learning. It considers how painting and art education might persist when infrastructures and conditions are weakened or withdrawn. It imagines painting operating in marginal spaces, both materially and conceptually, and reflects on how artistic activity emerges through necessity, adaptation, and informal modes of knowledge exchange. The School becomes a site where education, painting, property, authorship, and social infrastructure are reimagined under pressure. The paintings presented here are material fragments from this imagined school: traces of dispersed painting activity continuing to develop under precarious conditions.
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13. & 14.
Janine Davidson.
13. Study in Grey, 2023, film projection.
14. Accompanying vitrine texts- film-poem Study in Grey (2023), which examines the intersections of language, landscape, and environmental decline. Created during a residency at the Caribbean Marine Biological Institute (Carmabi) in Curaçao, funded by the Arts Council of Ireland. ‘Study in Grey’ is a film-poem that explores the duality and multiplicity of language in relation to place, and how these elements shape our understanding of the natural world. The film was produced at sites of preservation and conservation using a customised full-spectrum camera adapted for spectrographic coral research.
Janine Davidson is a visual artist with a multidisciplinary practice. She is a master printmaker and member of the Blackchurch Print Studio and At Home Studios. She is also a part time lecturer in the Fine Art Print Dept at NCAD. Davidsons projects have been funded by Arts Council of Ireland, the British Council, CDETB, Digital Hub, Dormant Account Funds, Dublin City Council Community Grants, Dublin Port Company, Fundación Botín, National Learning Network, Royal Ulster Academy and Grangegorman Development Agency.
Davidson has been awarded residencies at Carmabi Foundation and Instituto Buena Bista, Curaçao. Art, Politics and Architecture Workshop directed by Carlos Garaicoa, Spain. Artists Proof Studios, Johannesburg, South Africa. Belfast Exposed, Digital Media Residency, Digital Arts Studio, Belfast. Artists Studios at IMMA, Digital Media Residency, Fire Station Artists Studios, Dublin. She has exhibited internationally in Nice, Hong Kong, Johannesburg, New York, Stockholm, Santander and extensively across Ireland North and South.
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15.
Rachel Tuffy. (15 & 25) Jacquard textiles.
Rachel Tuffy is a designer, artist and Lecturer in Textile and Surface Design at NCAD, specialising in Woven Textiles. After studying textile design in London she worked as a freelance designer for companies who produce woven fabric for interiors, and ran her own business producing wool fabrics and accessories handwoven in Ireland. 
Rachel Tuffy’s practice and research is mainly focused on textile design for sustainability, in particular the use of local materials. She has worked on many collaborative projects including a project with a small industrial weaving mill in Nepal, developing textiles and products made from Allo, a Nepalese nettle fibre. Another involved working within a multidisciplinary team developing textiles for the new patient rooms in the Mater Hospital.
Rachel has led several NCAD research and student projects which focus on the valorisation of Irish wool. This includes a collaboration in 2026 between Avoca, the Galway Wool Coop and NCAD.
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16.
Sarah Durcan. The Invisibles, 2023.
A film that took a ‘spectro-feminist’ approach to the story of Ella Young (1876-1956), a lesser known Irish writer and revolutionary activist. Young was also a theosophist, believing in the agency of trees, mountains and fairies, later emigrating to California after becoming disillusioned with the formation of the Irish Free State. The film speculated on Young’s identity and the ‘otherworld’ of subjects that were excluded at the inception of the Irish nation state.
Sarah Durcan is a filmmaker and writer, who lives in Dublin (IE). Durcan has presented work at public arts institutions and galleries including the Birkbeck Institute for the Moving Image, London (UK) and The Irish Film Institute, Dublin (IE).
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17. & 18. Neil Dunne.
17. Display Cabinet, 2026, research, 2014 – 2026, notebook, brass, various photographs and 35mm film, 58cm x 1220cm, Self-published booklet.
18. Territorial Marker, 2026, Silkscreen on Panel, Varnish, 40cm x 120cm.
Throughout Dunne’s research, he identifies sites of historical and personal importance, reflecting on them through the lens of contemporary printmaking. He is a process-led researcher, exploring digital and foundational processes, namely silkscreen printing. Central to this practice-led methodology is an interrogation of the city, specifically through post-industrial frameworks and theories related to wandering within the landscape. Being raised in the Liberties, with a family lineage spanning generations, my work is deeply situated. For example, Dunne’s grandfather, a stone mason, spurred an interest and deep dive into the 19th-century brick industry that fuelled Dublin’s expansion. The distinct yellow clay bricks unique to this area literally constructed the city’s footprint before succumbing to cycles of regeneration—a material history intertwined with Dunne’s own biography. 
Through these prompts he conducts field research, seeking out and capturing the landscape leading to reflection and process led explorations. Way-finding has become a central focus within his practice, stemming from an interest in Derivé, this led him to explore geolocation tools and physical archives while working with analogue photography as a tool to document. This forms a premise to image making and offers a distinct perspective on how Dunne views the landscape through his practice. He reflects on the city as a palimpsest, referencing the geological persistence that resists urban control and embodies rich histories and distinct socio-political strata, he often refer to the city as a matrix, gathering information from its rich, layered surfaces. This research addresses instability in the landscape and challenges contemporary printmaking to reflect on the duality of digital and physical spheres. Contemporary print practice straddles this line, oftentimes existing as both digital and tangible works with one trope informing the other.
Ultimately, this research offers a meditation on how site-specificity can be restructured to include both the tangible archive of time and the fluid, mediated interface of our digital reality mirroring the fractured nature of contemporary presence where we exist simultaneously across physical and virtual territories in an increasing disorientation of the landscape and our relationship with it. The chosen work is a silkscreened panel taken from a series of field research of a marginalised urban site (Terrain Vague). Documenting human interaction and architecture designed to obstruct, intervene and interfere with the landscape. It is scanned, then digitised and finally hand printed.

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19. 20. 21. 22. Vivian Hansbury.
19. Willow skirt, 2026, glass castings of moss. Dimensions 120 x 50 x 25 cm.
20. Willow wall work, 2026, willow, jesmonite. 120 x 50 x 5 cm
21. Little body, 2026, willow, jesmonite, turf, clay. Dimensions 80 x 30 x 25 cm. Free-standing.
22. Tanawin Landscape from afar, 2026, willow, jesmonite, 120 x 140 x 30 cm. Free-standing.
Hansbury’s research focuses on sustainable construction practices using natural materials, specifically developing and embedding traditional wicker construction knowledge into my artistic practice and teaching at NCAD. This material-led inquiry culminates in a new body of sculptural work for a solo exhibition, TANAWIN, at The Custom House Gallery & Studios, Westport, in April 2026. The exhibition explores personal themes through the use of natural materials including willow withies, jesmonite, and turf castings and moss glass castings. This project integrates sustainable, process-based methodologies into NCAD's learning environment, deepening practical knowledge of low-impact construction techniques. Building on previous eco-material work, this strengthens a long-term research trajectory centred on experimental, environmentally responsible making, offering transferable skills for the broader NCAD curriculum.
This work explores Hanbury’s emotional connection to the bog landscapes from where she grew up. It addresses themes of memory, identity, and belonging. ‘Tanawin’ in Tagalog means landscape or to look at something from a distance.
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23. Loom

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24. Kathy Mooney. A selection of colour swatches exploring different organic material forms, chopped, crushed, ground and extracted. Used with a mordant, and sometimes tannin, the dye adheres to the four fibre types, cotton, linen, wool and silk in varying shades. Modifiers, iron and bitartrate, are used to shift the colour. The weld swatches are dyed with weld foraged from NCAD field.
Kathy Mooney trained in Industrial Design at The Scottish College of Textiles, Galashiels, specialising in woven textiles. She completed a research MA at NCAD titled ‘Material Matter’ prototyping wool, paper and metal yarns. She has been working as a weaver for over 25 years. Her experience includes working in a sample house designing textiles for industrial production in New Delhi. She has also designed for small batch productions with an emphasis on yarn composition and properties. She was a research associate with The Smartlab Digital Media Institute, working with a team on socially engaged projects. RDS National Craft Competition, Lillias Mitchell Award winner. Craft and an iterative process of sampling yarns and weave structures is central to her weave practice.
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25. Rachel Tuffy, 15 & 25, see note 15.

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EVENTS PROGRAMME All events timed to Ireland (GMT+0) & located in the NCAD Gallery.

1.
NCAD Research Exhibition Opening (6PM) & Launch of FIELD GUIDE (4.30PM). 
Thursday, 19 March 2026, 4.30PM & 6PM, NCAD Gallery.
FIELD Guide will be launched by Dr. Marcus Collier, Associate Professor of Sustainability Science, Trinity College Dublin and Principal Investigator on the NovelEco project. Sitting beside the National College of Art and Design in Dublin, the FIELD is a 0.4 hectare site whose use and definition has shifted over the last decade: from a derelict urban car park to a guerrilla-composted horticultural project; and, more recently, to a semi-structured biodiverse haven for human and more-than-human interaction, creative research, and learning. 

FIELD Guide — A Terrestrial Lexicon & Multispecies Index introduces the FIELD as an urban novel ecology, hosting webs of life born out of hybrid patterns of human and non-human use and inhabitation.
FIELD Guide has been developed through contributions from learners on the Creative Futures Academy’s Professional Certificate in Art & Ecology offered by NCAD. It was compiled over two days in the summer and autumn of 2023 by learners on the course, overseen by Dr. Marcus Collier of Trinity College Dublin and Dr. Lorraine Archer of Central St Martins, London. 
Over the last two years, across four seasonal ‘intensives’, learners on the Professional Certificate have engaged with the FIELD as a site of outdoor learning, reflecting on how we might collectively 'reworld' our relationships with more-than-human ecologies. 
A core part of the publication is the Multispecies Index, a non-exhaustive catalogue of life in the FIELD, divided into the three kingdoms of Plantae, Animalia and Fungi. It records the web of complex life in the FIELD and offers a snapshot of its biological diversity at a particular point  in time.  As such, the Multispecies Index  serves both as a baseline reference for future research and enquiry, as well as an invitation to consider how we can create the conditions to ensure that all species listed - and more besides - might flourish in this perpetually evolving novel ecology.

Editors: Gareth Kennedy and Seoidín O'Sullivan
Design: Dervla Clarke, POND Studios

FIELD Guide — A Terrestrial Lexicon & Multispecies Index is published within the framework of 'Museum of the Commons' a four-year project organised by the European confederation L'Internationale and co-financed by the Creative Europe Programme of the European Union. Gareth Kennedy and Seoidín O’Sullivan were Urban Fields residencies as part of Museum of the Commons. 

Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.
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2.
Experiments with AI: A Research Project Talk Presentation by Rory Hanrahan. 
Tuesday, 24 March 2026, 1-2PM, NCAD Gallery.
As a filmmaker & commercial director Rory is interested in engaging with AI to better understand the tools, process and capabilities of the powerful emerging platforms that produce still & moving images.
In the summer of 2025, Rory spent a few months exploring Midjourney & Google Gemini programmes to work out how he felt about these new tools, and how he might use them. He created a suite of short films as he tried to understand the limitations and possibilities of generative AI. Over the summer he became increasingly aware how important it was to reflect on the content that has been used to train these tools - and how this content informs and limits what the AI platforms can produce.
As he experimented with these tools a series of bigger questions arose for him: What are these tools for? What is the purpose of generative AI video tools in the context of the broader AI picture? Can a machine create cinematic experiences? Will people ever want to see a two hour movie made with no people or cameras?!
Rory Hanrahan is a commercial director based in Ireland working for national & international brands. Rory also teaches at the National College of Art & Design where he is the co-head of Moving Image Design.
Rory is currently writing a feature film screenplay about a time machine and a slug. (Based on an award-winning short film he made in 2024 about a time machine and a slug). The project development is being funded by Screen Ireland.

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3.
Contemplating Carbon: Type, Paper and Ink Performance Lecture by Jamie Murphy. (see ref no.2 on the Gallery Map, notes on page 2).
Wednesday, 25 March 2026, 1-2PM, NCAD Gallery. Duration: 45 minutes.
'Carbon is the basis for all life on earth, and the harbinger of our demise.'
CARBON is an artist book project Jamie has been developing for the last five years. From new wood type, to diamond infused papers and exhaust-soot-ink pochoirs, in this (image and film) illustrated talk Murphy will discuss this project's origins, research, experimentation and the multitude of collaborations and processes employed in its making. 
Visitors to the NCAD Gallery Research Exhibition & Programme 2026 (20 March - 17 April) have the opportunity to view Jamie's CARBON artist book placed in a vitrine until 17 April 2026.
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4.
Wet Epistemologies: Performance Lecture with Jye O’Sullivan. (see wall panel ref no.1 on the Gallery Map, notes on page 2).
Thursday, 26 March, 1PM, NCAD Gallery.
Jye’s lecture preparation is inspired by the work he has completed with the State University of Rio de Janeiro on decolonial approaches to sound and the destablisation of bodies. This performance lecture with accompanying sound draws on an article that he is publishing for a special edition of Concinnitas titled: Listening Practices: Body, Image, and Sound as Transdisciplinary Fields. 
Situated in the NCAD Gallery/ Foyer, the work functions as a guided meditation through a soundscape that examines the porosity of bodies when confronted with sonic infrastructure. This will use a mixture of modular synthesis and field recordings collected between Dublin and Rio.
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5.
Artistic Research in Health Contexts: Interactive presentations showcasing an array of art and health practice and artistic research methodologies, with Emma Finucane, John Conway, Yvonne Cullivan.
Friday, 27 March 2026, 2-4PM, NCAD Gallery.
Through three distinct projects, the Artistic Research in Health Contexts event examines how contemporary art practices can operate within healthcare contexts to create spaces for reflection, sensory engagement, and connection. The work foregrounds methodologies rooted in duration, attentiveness, and ethical engagement, and reflects on the role of the artist as collaborator, witness, and facilitator within clinical and community-based healthcare environments. This event includes: 
A performance lecture by Emma Finucane that describes methodologies of artistic research within art and health contexts. Through the use of images and reading of excerpts from a responsive text written by Marielle MacLeman, Emma describes how an artist can work in this space.
An activation of John Conway’s work, The Ballad of a Care Centre, which weaves together verbatim oral histories of older Irish men and women that forms a newly distilled narrative of a comfortably familiar yet deeply unsettling Ireland. 
A screening of a short documentary film unpacking the Arts & Health project You Are Here, a collaboration between Yvonne Cullivan and Manuela Corbari. This project brought the restorative power of nature into the hospital setting through an immersive sensory experience. With an opportunity for Q&A around project development, delivery and findings. 
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6.
Artist Performance Lecture with Catherine Harty. Duration: 45 minutes.
Tuesday, 14 April 2026, 1-2PM, NCAD Gallery.
To serve as a point of entry into the artist’s practice, this performance-lecture proposes two commentaries on Conceptual Art and administration, “Art 1962–1969: From the Aesthetic of Administration to the Critique of Institutions” by Benjamin H. D. Buchloh, and Anna Lovatt’s “Paperwork: Conceptual Art and the ‘Pink-Collar’ Worker.”
Harty notes, despite Conceptual Art’s much-discussed “aesthetic of administration,” the movement has not been extensively analysed in relation to the changing conditions of clerical work in the United States during the post-war period. By the 1960s, administrative labour had shifted from a white-collar to a “pink-collar” profession, confounding earlier categorizations of labour and social class. Buchloh’s essay implicitly understands administrative work as the domain of the Professional Managerial Class (PMC), whereas Lovatt’s engages the experience of the ordinary administrative worker.
Harty includes examples of their work that reflect on the space of work of the cultural worker/artist:
Irish Jobs for Irish Robots, 2017, video., 4”57.
Tech Guy Spiel, 2022, video, 8”40’.
SOB and Real Abstraction, 2021, video, 5”25’, (C. Harty/John Thompson).
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7.
Legacy of SpaceX-Rise:  Michelle Browne, Anne Kelly, Gareth Kennedy, Emma Mahony, Tom O’Dea, Seoidín O'Sullivan, Fiona Whelan.
Wednesday, 15 April 2026, 2-4PM, NCAD Gallery.
Through secondments between 27 academic and cultural organisations, the SpaceX research project tested, mapped, analysed and disseminated the ways in which spatial practices in art, architecture and design are instigating public exchange and promoting empathetic ways of living together in urban space. The research project responded to the troubling rise of populist nationalism and conflict in European societies by engaging new publics and forging a culture that embraces diversity, difference, and discursive exchange within cities, towns and urban sites.
As principal investigator for NCAD, Emma Mahony will introduce the Marie Skłodowska-Curie Actions (MSCA) Staff Exchanges scheme, which enabled the development and delivery of the Spatial Practices in Art & Architecture for Empathetic Exchange SPACEX research action. She will offer practical insights into the funding call and project design. It will also provide a space for attendees to ask questions and explore how similar initiatives might align with their own research goals. 
This will be followed by 10-minute presentations by each of the 7 NCAD SpaceX-Rise researchers on the research that has emanated from their participation in the SPACEX project and their month-long secondments to partner institutions across Europe. 

Michelle Browne will discuss her secondment to Van Abbemuseum in Eindhoven where she responded to the prompt of what a constituent archive might look like by conducting a forensic examination into the relational legacy of a participatory work in the museum archive by the Danish artist collective Superflex.
Anne Kelly will discuss her research secondment to the Laboratory for the Urban Commons in Athens and remote connections to Palestine, to present her research on ‘Reflections on Commoning Sensing: Framing cultural infrastructures aligned to remote contexts’.
Gareth Kennedy will discuss his secondment at STROOM Den Haag where he investigated how cultural institutions and universities that have outdoor pedagogical/ecological spaces can adapt to work with seasonal time in order to become more resilient, ecologically responsive, and happier spaces for their human and more-than-human constituents. 
Emma Mahony will discuss how her secondment to Casco Art Institute: Working for the Commons in Utrecht inspired her ongoing research project Unlearning in the Art School where she is applying unlearning methodologies initially developed by the team at Casco to her teaching practice in NCAD. 
Tom O’Dea will discuss the outcomes of his two secondments, the first at Kunstverein am Rosa-Luxemburg Plaz in Berlin where he realised the event "It's easier to talk about [platform capitalism] when having dinner together",  and the second at Van Abbemuseum, where he engaged with the archive.
Seoidin O’ Sullivan will discuss the research outcomes of her secondments to Casco Art Institute: Working for the Commons where she engaged with themes of commoning which she is incorporating into her teaching across NCAD.
Fiona Whelan will present on her secondment at Home for Cooperation, located in the buffer zone in the divided city of Nicosia in Cyprus, which investigates how pedagogic strategies in spatial practice contribute to the transformation and construction of subjectivity.

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8. ********CANCELLED DUE TO UNFORESEEN CIRCUMSTANCES******
A Cultural Tour of Hotels in the Liberties Walking Tour Aoife Ward & Eve Woods.
Thursday, 16 April 2026, 1-2PM, Meeting at NCAD Gallery.
Aoife and Eve will perform a snippet of their 2022 walking tour A Cultural Tour of Hotels in the Liberties. A Cultural Tour of Hotels in the Liberties brought the audience on a loop around the liberties, highlighting the oversaturation of hotels, aparthotels, student accommodation and Airbnb’s in the area. Graveyards of cultural centres were paid respects to and the hotel giant’s evil plans were exposed. The tour satirised a future where all culture will be replaced by hotels highlighting the abundance of temporary accommodation within the Liberties and its encroachment on long term facilities and housing. For this iteration the pair will guide the group from the NCAD Gallery exhibition to Staycity on Francis St where they will present their research into unfinished, unopened Staycity Exhibition and Performance space with references to their 2023 eponymous exhibition ‘Con: temporary Quarters’. Guests are free to bring lunch to enjoy on the public benches in Liberty Plaza (Staycity courtyard).
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9.
Durational Weaving with Áine Byrne, Kathy Mooney, Rachel Tuffy. Duration: 120 minutes.
Friday, 17 April 2026, 11AM-1PM, NCAD Gallery.
A floor loom is installed in the NCAD Gallery for the duration of the exhibition, where a collaborative weaving will take place over one month. Kathy Mooney will prepare a Galway wool warp, partially naturally dyed using weld foraged in the NCAD Field and the local River Dodder. The warp will be tied on and gradually woven throughout the exhibition by Áine Byrne and Rachel Tuffy.
The completed textile will be unveiled on 17 April. This event will be accompanied by a “research weaving” tour of weaving-related sites on campus and within the Liberties area, concluding with a demonstration of the digital TC2 Loom in the NCAD weaving department.

This showcase positions weaving as a form of research through a process-driven, materially led collaboration between weavers, Kathy Mooney, Rachel Tuffy, and Áine Byrne. The work approaches weaving as a site for tacit investigation and “thinking through making,” where knowledge emerges through material engagement and the embodied actions of the loom. Situated within the historic context of the Liberties, an area with a rich legacy of industrial textile production and domestic weaving studios, the action-based weaving process reflects on both the material and cultural histories of weaving practice.
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THANK YOU! 
The NCAD Gallery & exhibition curator Anne Kelly, Professor David Crowley, and Ally D’Astolfo of the NCAD Research Office would like to thank all researcher practitioners, artists and designers who answered the call to take part in the first NCAD Research Exhibition and Events Programme, 2026. 
The NCAD Gallery curator would like to give special thanks to Gallery student exhibition installers, John MacAvin, Jack Galligan, Evan Wilson and Visual Culture placement student Callum Wilson for their attention to detail, resourcefulness and dedication, and to student Rachel Murphy for her assistance during the exhibition opening evening.
Further thanks to Emma Finucane, HOD NCAD Fine Art Print Department, to Ruairi Conaty, School of Design, for equipment loans; to Martin Fitzgerald and Mark Costello of NCAD Facilities, and to technical officer Denise Beck for printing assistance.

Image (top, below): Sarah Durcan, The Invisibles, 2023, film still, Platform Commissions EVA International & part funded by NCAD Research Office.