​Only when I had finished this work did I fully understand what I wanted to express. My father took me fishing regularly as a child and these were the times when our relationship was least complicated and he was kinder to me. We would spend hours on the rocks looking at the sea and trying to spot  when a school of fish would break the  water’s surface. He is now in a state of advanced dementia, he is gone from this world and from me…. From a wider perspective, I am contemplating the complex journey of a human life as I sit in my inland sea in a state of flux.
The process of making this artwork, which incorporates 3D scanning & printing and internal lighting, was a crucial to  exploring meaning in a  subliminal and  profound way.

I started work on Age of Exploration: Spice about 6 years ago when I found this wooden case dumped on a nearby street. Initially I laid out a trail of cloves on the floor of the case and then ground to a creative halt. Last November I opened the case again with  a clear idea of what I wanted to do with  it, complicated.... It kept me awake nights but the complexity helped me to get through a hard time and it has been one of the most enjoyable pieces I have  ever made. My son filmed it for me - it's always difficult to capture a 3D piece in a 2D photo, what the film doesn't capture is the fragrance of the spice landscape, it is in fact an olfactory experience as well as a narrative of exploration. What started me thinking about making this piece in the first  place was a visit to the Musée Nationale de la Marine in Paris about 12 years ago; I saw a wonderful model ship made entirely out of cloves and of course, this was made by a sailor who had nothing else to occupy him during the many months at sea. He made the work about what was close to hand, a hold full of cloves and the ship he was sailing in and he created something magical. 

For the  last couple of months, apart from from the  3D work I have been working on the paintings/collages also. These 2 artworks 'The Dreams of City Dwellers' #2 (above) and 'A Child's View of Babel' (below) both reflect my ongoing fascination with cities, their complex histories and the movement of peoples to and from them. These works will be featured in 'On Paper' curated  by Chang Feng in Shanghai this April.

In common with many people I have experienced 2017 as a year of cancellations, frustrations, disappointments but it's also been one of my most creatively productive years ever. I took heart when reading Waldemar Januszczak's article "In praise of older women". In it he describes the plight hitherto of most artists who are over 50 and who crucially, are women and writes "If the  lifestyle sections are genuinely interested in predicting our artistic future, hey need to be  trawling the nation's old people's homes and shouting "Is anyone here a forgotten artist?" Because that's where the money  is." 

All I can say is yes, but do we have to wait until we're in the old people's homes? do we have to wait until we are too old and frail to achieve the ambitious  and large scale projects which we want to achieve but can't because we haven't got the money!  I'm always so thrilled to hear about artists like Phyllida Barlow and Lubaina Himid  finally getting some recognition and keep hoping that I may someday get a break - after 37 years of making art through all kinds of challenging circumstances, maybe 2018 will be the year that my work gets seen  and gets recognised.

I meant to write this post on New Year's Day to keep to my schedule as conscientously as possible - didn't manage  of course because the  decision about my use of time came down to making art work or writing about making  artwork..... I  finally have got the  time  to write because I'm bedbound with a nasty bug and can't stay upright for too long, so a break from the studio  is in order.

In the run  up to this year's big exhibition in Beijing with Niamh Cunningham, Gulistan and Jin Mei (our working title is 'Like  an Iceberg') I've started work on a  series called 'Age  of Exploration'. The first finished work is on my homepage and the slideshow above shows progress on a larger  work in the  series  which  is in 4 parts. In  fact I can't work on more than 2 parts at any given time because the studio is too small.....

Of course, I started work on  it without measuring the ceiling height in my dining room (the only wall in the house that can  take it) and then discovered that it's 10cm too low. This meant setting up a system of leaning supports  so that I could actually assemble the work  and check that everything  would link up. I'm going to ask a kindly neighbour with a higher ceiling to lend me a wall once I've finished the painting

These photos show the ongoing progress, the stretching is temporary because it will have to be destretchered for transport to China and I need things to be floppy so I can do the sticking and burnishing.

As there's a lot of cutting out to do I time the process and try to watch videos/films related  to the theme while scissoring away which is quite fun in a nerdy way. So far I've watched all 4 series of Vikings (it's not great so I on't feel bad about keeping one eye on the cutting out all the time) as well as In the Heart of the sea. That comes out at 4 series x  10 episodes - each 45 mins = 1,800 mins + the film which is 122 so a total of over 32 hours of cutting out excluding the cutting out where I've been listening to music or having a conversation on the phone. Nothing  like multi tasking.

I'm also rereading old favourites like Huckleberry Finn, Treasure Island and Lord Jim which were such memorable experiences from my childhood and adolesence. So that's all the 'light side' to the project, there is of course a darker one which relates to crossing water as a refugee  or a migrant and this is the aspect that keeps me awake nights. I watched The Crossing recently, an extraordinary documentary film about the Irish Navy resue mission in the mediterranean 
www.youtube.com/watch?v=p7GdGMbHYlc&t=1886s 
I wish that all those people  who use refugee almost as a term of insult would watch this and begin to understand the difficulty of what being a displaced person means. 

As we sail into 2017 I want to make art about important ideas, histories and ethics, to seek meaningful collaborations and reach  out to  many  people  - to  dive into  my  own age of exploration.

I liked the Timeline Tourist pieces. They are explicit in referencing war, and so you are confronting it head on, as it were. I thought the way you placed the images so concretely in the Baltic landscape, by the dunes, the grass, the trees, was striking and particularly so for western European eyes. And the sailing past, the looking in, the casually observing, the being separate from - seem to me to be part of the development of your work. The viewer has actually to take a position, and the artist does not direct this. So it stays with you, the viewer.
​J. Shepherd

​The ancient Greek philosopher Heraclitus said, "No man ever steps in the same river twice, for it's not the same river and he's not the same man" this notion represents a philosophically complex discourse because it allows us to reflect and to explore the relationship between time and space as well as between human beings.  The work of Irish artist Fion Gunn reflects and encompasses this way of thinking and it is evident in the body of work for this exhibition, where the core issue is that of “memory”, that it is the perspective of an artist who is also a woman in the "River of Time", who depicts life, her perceptions of the world and of herself in painted shorelines.
I have known Gunn for several years now and have witnessed how she recognises, both in her artistic and her curatorial practice that to focus on humanity itself is the most fundamental and most ambitious theme: to promote justice, equality and not to compromise when confronted with evil.

This series about "memory" shows Gunn as an artist with a specifically feminine perspective which is sensitive and subtle; this is a very special body of work where Gunn demonstrates that she is not only an artist but also a daughter, a mother, a grandmother and a wife. The work describes half a century of her life, it includes all her different perspectives and identities and reveals a complete, comprehensive three-dimensional image of a contemporary women and a contemporary artist. As a scholar of contemporary art, I think that these works do not only represent the artist’s public persona or artistic ambition but, rather show her inner self and her vulnerability.
​
She employs a range of different materials and collage as she explores "memory". The colours are bright and vivid; the aim is not to represent reality, but rather to construct internalised landscapes, where many real, historical events from different places and times, are juxtaposed with the artist’s own personal narratives.  
In "bridge of memory", composite landscapes from the UK, France, Spain and even China appear on the same canvas, this is not the depiction of a real place, it is a product of the artist’s thoughts about the meaning of the word “bridge”.  Gunn has drawn on her own personal experience as the source for its construction, the landscape does not exist in the material world, it only exists in her own memory. In addition, the use of blue is striking in this work, the description of the sky and the ocean - bright blue on one side to conjure the artist's inner world filled with love and the celebration of life. The colours are beguiling, even when the images are sorrowful or difficult, they still give a vision of hope to the viewer.
I think that Memory Lens, another artwork in this series is very significant for Gunn as an artist. She uses collage and multi media to conjure her own childhood, beside an image of herself as a child she juxtaposes an image of her granddaughter, creating an illusion of parallel space and time. For the viewer this arouses a powerful sense of the passage of time, a sense of humanity’s shared experience and common roots. The “journey of life” exposed in these collaged paintings, shows Gunn’s concern to include her the images of grandmother and other family members as part the creative process  itself and it is really worth focusing on this aspect, for we are given full access to the artist’s personal perspectives and emotions during the making of her work.  The artist uses specific methods of editing her own feelings, perspectives and memories, across the generations and over a long period of time, which enable her work to resonate with people from other cultures and of other ages.  Her work also convinces the viewer, even though logically and intellectually we know that time does not flow backwards “water spilled can never be retrieved” however, in this particular artist’s world anything can happen, for in art like this the viewer can feel unchanging nature of humanity and its timelessness.
 As a friend of the artist for a number of years, I’ve known Gunn both as a fine artist and as a curator and witnessed her adhere to her ideals. Following the death of her mother and with her father suffering from dementia, Gunn has concluded that " memory", which includes the totality a person's life, the ups and downs  and complications, is also one of life's most valuable assets and her current artworks are replete with these treasures. I wish Fion Gunn every success with The Painted Thread exhibition, I hope that many people will have the opportunity to see these paintings, to be inspired by them, to share and value them.

Harry Liu
劉競晨
 
CHINESE VERSION

站在“河”边的守望者
Beside the “River”
 
古希腊哲学家赫拉克利特说“人不能两次踏进同一条河流”，这句充满哲思的话语让我们反思和探寻时间、空间以及人之间的关系。而以此隐喻引申出来的思考便是爱尔兰艺术家飞扬此次展出作品的核心问题“记忆”，或者说，是以一位女性艺术家的视角，在“时光之河”岸边上所描绘的世界——关于自己，关于生命。
 
在认识飞扬这若干年来，她的创作和策展实践往往是关注于人类社会中最为基本也是最为宏大的主题：公正、平等以及对一切“恶”的不妥协。然而在这一系列关于“记忆”的作品之中，彰显的是飞扬作为一名艺术家，一位女性特有的敏感和细腻的情感，这是非常独特而珍贵的一套作品，在这套作品中，飞扬不仅仅是以一位艺术家的身份而参与其中，她还是一位女儿、母亲、祖母和妻子，在半个世纪的人生旅途当中，所有的身份和景观都融汇于此，以此构建了一个更为完整和立体的当代女性和艺术家的形象，作为一位当代艺术研究者，笔者认为这些作品所呈现的是飞扬在公共形象和其艺术理想之外的，更为本我和柔软的另一面。
 
这一套关于“记忆”的作品大多采用了综合材料和拼贴的创作手法，色彩明亮跳跃，其构建的景观和现场并不是以写实和重现的方式来表达的，而是通过一种将不同空间时间所经历的真实事件相重叠并融合了艺术家内心的后重新编排和创造出的内心的情景。在《桥的记忆》这幅作品中，我们清楚地看到，来自英国、法国、西班牙甚至中国的景观和现场同时展现在画面纸上，这并不是真实存在的一处场景，而是飞扬脑海中关于“桥”而创作出的画面，其来源是她的亲身经历，而所绘制的，却是一处“无在之所”——仅仅存在于她自己的记忆宫殿之中。此外，对于蓝色的运用在飞扬的这套作品当中非常的醒目，对于天空和海洋的描述是这套作品中非常吸引眼球的部分，明亮的蓝色也从一个侧面展现了艺术家内心世界所充满的对生活的热爱和对生命的礼赞，即便在弄些略显沉重和忧伤的画面当中，依旧给观者以希望和憧憬。
 
另外一件非常值得一提的作品是这系列当中的《镜头的记忆》，笔者认为这件作品在飞扬整个创作和艺术生涯当中具有非常重要的意义，她通过拼贴和多媒体的形式将其自己儿时玩耍的图像与孙女儿的形象相叠加，创造出一种时空并行的错觉，这种方式让观者体会到一种非常强烈的体验，对时间飞逝的感悟，以及对人性本初那种共性的体验。此外在其《在生命中航行》这件作品中，也出现了她祖母的形象，这些家庭成员的形象在其创作中是非常值得关注的，全面地展现了飞扬作为艺术家在这套作品创作过程中所注入的个人观点和情感，同样，也和题目当中所提到的那样，艺术家将几代人的情感和记忆在时光的长河之中用自己独特的手段进行进行编辑，让存在于不同时代不同上下文关系之中的人物产生某种共鸣，也让观者从中获得启发，虽然在逻辑和理智上我们清楚地知道时光不可倒流，覆水不可重收，但在艺术家的世界里，一切皆有可能，而且从这样的作品中，观众更可以感受到的是人性和母性这种亘古不变的永恒特征。
 
作者：作为艺术家的好友，笔者深知飞扬作为一位杰出的艺术家和策展人在这些年来的坚持和理想，在经历了母亲离世和父亲罹患老年痴呆症之后，飞扬认识到“记忆”也许就意味着一个人生命的全部，那些酸甜苦辣、那些五味杂陈亦是生命中最宝贵的财富，正是这些宝贵的财富构成了今天这些作品的全部，祝愿飞扬展览获得圆满成功，同样希望所有有幸看到这些画作的朋友们能够获得不同的启发，共同分享这宝贵的财富。

Recently I took my two grandchildren to the new Tate  Switch House  - what a brilliantly positive experience it was. The staff are friendly  and helpful, the exhibits are accessible for all kinds  of audiences and the building is wonderful. I took them into the Louis Bourgeois rooms and they were really gripped! Apart from liking the anatomical bits especially any 'bum' or 'boobie' references they loved drawing under  the spider 'Maman' and were  very  drawn to 'A Woman  Without Secrets'. 
​
They were so inspired that  they made some drawings of this which I'm posting here. Boèce who is five and a half commented that  there weren't  any ears or hair, so he added these in.... and also he was  troubled by the lack of arms  and legs so  he added  a couple of these in as  well. Léone who is three  and 9 months was not  bothered by these omissions but felt that the heads could do with a bit of green.

The background colour of the drawings is  yellow - that's the only colournI brought with us and doesn't necessarily reflect the children's preferred choice.