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    <loc>http://www.rachelfallon.com/artists</loc>
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    <lastmod>2024-09-06</lastmod>
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      <image:title>works - All In The Mind - 24 hour Performance - WWAR 2014</image:title>
      <image:caption>All In The Mind was part of a body of research that explores women's work and the intangible qualities of creativity. In this piece I examined the motions of sewing and mending with different end outcomes. Over a 24 hour period I altered or mended one garment given to me for this express purpose and upon finishing this work I created, using the same procedures, part of a piece of art work. The concept behind this was an exploration of the relationship between sewing and mending – traditional ways for women to make an income and strive for some kind of financial independence and the work of an artist also searching for ways to support their practice, often through low end jobs. While this is often viewed as a negative struggle I look at the possibility these low end jobs might provide an artistic freedom whereby there is no accountability for what is made no matter how incongruous with the art market or gallery viewpoint and that the transition between a skill technique and art takes place within.</image:caption>
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      <image:title>works - Mother Medal 1 - 5 - 2018</image:title>
      <image:caption>wool felt, embroidery threads, household sponges These medals came about through looking at pronatalist movements in fascist/ totalitarian regimes from the beginning of the 20th century alongside iron plaques made by the American artist David Smith between 1937 and 1940 titled Medals for Dishonour made as an attack on Fascism. The idea of awarding medals for producing children seems perverse. In particular that they tended to be awarded for two very particular reasons; giving birth and managing to keep a number, generally 5 and upwards, alive or, losing your child while they were in a role of service to their country.. They are each based on a pronatalist medal but with a motto from a serving military regiment attached creating an award which is pertinent to a particular situation for women today.</image:caption>
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      <image:title>works - The MotherHood - 2015</image:title>
      <image:caption>Life size performance hood Approx 30 cm in height Sculpture – wool textile, vintage glass dolls eyes The MotherHood is both unidentifiable super hero who has eyes everywhere and misses nothing but it is also it’s more sinister shadow side of someone imprisoned in their role.</image:caption>
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      <image:title>works - How to Protest -  protest pack - 2016</image:title>
      <image:caption>in response to massive studio closure and underfunding of the arts sector in Ireland Outpost Studios created a protest performance for Culture Night 2016 Protest Pack includes; How to protest booklet, protest participant checklist, protest prayer and why we protest information flyer.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/55dcbba4e4b097a7c2e5bf17/1570394005395-WAAEIROIV4IEYVLUOFTY/IMG_0576.jpg</image:loc>
      <image:title>works - All You Can Eat - €11.12  - candle wax, pigment, wood, leatherette, 2018 (detail)</image:title>
      <image:caption>The foundation of this work is the fact that the average wage per hour of an early years educator is €11.12. (from ECI findings, Doing the Sums; The Cost of Providing Childcare, September 2016) which is below the Living Wage of €11.90 which is considered the absolute minimum essential standard of living (MESL) as calculated by VPSJ (Vincentian Partnership for Social Justice). The idea of an All you Can Eat Buffet comes from Las Vegas Circe 1946. A buffet was also a display of wealth in 16th c France and it referred to both the food display and to the furniture on which it was mounted which was often draped in rich textiles- Louis the XIV - the Sun King ‘ who was famously attached to his mother Queen Anne (she handed military secrets over to Spain) had St Vincent de Paul as her spiritual advisor (1643) (VdeP died 1660). For them, the plates and silver buffet furniture had to be melted down at the mint to pay for the wars at the end of Louis XIV’s reign.</image:caption>
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      <image:title>works - for kill, read kiss</image:title>
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      <image:title>works - things break down / altered ego</image:title>
      <image:caption>performance/sculpture</image:caption>
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      <image:title>works - manifesto soup - the recipe</image:title>
      <image:caption>as performed for Fluxus - Mixing/Stewing at Signal Arts Centre 7/03/2020</image:caption>
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      <image:title>works - a repressed love story - the obvious part</image:title>
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      <image:title>works - pimp - visibly invisible</image:title>
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      <image:title>works - The Map - Rachel Fallon and Alice Maher</image:title>
      <image:caption>‘The Map’ is a collaborative work by Rachel Fallon and Alice Maher. Along with the accompanying text/ sound work ‘We Are The Map” by Sinéad Gleeson and Stephen Shannon, it originally formed part of ‘The Magdalene Series’, an exhibition program curated and commissioned by MaolÍosa Boyle which sought to consider the historical and cultural figure of Mary Magdalene as a powerful motif for varying explorations of language, agency, autonomy, colonialism, and institutionalization.   Maher and Fallon first met on the Artist’s Campaign to Repeal the Eighth Amendment, as part of the Campaign for Reproductive Rights in Ireland, where they contributed to the making of a set of original street banners which were carried on marches and processions and became synonymous with the success of that ground-breaking social movement.    ‘The Map’ is an extension of this spirit of collective endeavour and a continuation of their interest in mobile forms of art which can communicate to people on many different levels.  Along with this material and historical reference, the artists also brought an interest in cartography into their exploration of the Magdalene in all her societal, mythological and personal meaning.   ‘The Map’ (6.50m x 4m) sewn, hand embroidered, embellished, crocheted and painted by both over a three-year period, is a monumental textile sculpture. Approaching the subject through the lens of the feminist cartography, in which the elements of the practice of mapping are used as a device to imagine and re-imagine the life, legacy and mythology of the Magdalene and its impact on women’s lives, they utilised the iconography of renaissance maps and medieval tapestries, as well as the language of Victorian ‘Cartes de Tendre’ and moral schemas such as ‘the Pilgrim's Progress’, to subvert and challenge the very belief systems and power structures that these maps were established to uphold. With its own continents, winds, currents and constellations, ‘The Map’ draws the viewer in, inviting a reorientation. Its richly worked surface is an epic Mappa Mundi where an alternative topographic and psychic landscape is uncovered.</image:caption>
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    <loc>http://www.rachelfallon.com/new-gallery-5</loc>
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    <lastmod>2021-03-22</lastmod>
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    <lastmod>2019-10-17</lastmod>
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