Kane Stonestreet

Bbeyond New Commissions artist Kane Stonestreet will make a Live Performance as part of the Cathedral Quarter Arts Festival at Flax Art Project Space from 7pm to 8.30pm on Thursday the 4th of May 2023.


Kane Stonestreet (b. 1992, Lancs) is a multidisciplinary performance artist. Their practice is informed by visual art histories, from their time at Glasgow School of Art (2012-2015) where they specialised in Sculpture & Environmental Art. Their art school punk band Pennycress led them to DIY subcultures. They toured North America with Joanna Gruesome, screamed on Shetland with Damn Teeth and sang about roast dinners with Cat Apostrophe.

On their 26th birthday, stonestreet performed with their close friend Joseph Morgan Schofield. This ritual with talc and ice transformed into a project about their queer siblinghood. They spent time on a residency at ]performances p a c e[ and performed at VFD, London and Sprungturm Festival, Darmstadt.

Their project Holding (Qualities of Loss) (a performance between their body, a block of ice and a site) was adapted for digital presentation as part of R-A-W, a digital exhibition from Bbeyond. The project’s latest offering, a work entitled Holding (open), was a part of Live Art Ireland and Bbeyond’s Convergence festival and will be performed at Emergency in Manchester.

In 2021, they initiated and co-led a residency project entitled Collective Attention: Anarchic Action with Eleanor Dalzell Jenyns. Through weekly workshops 7 artists shared their practices and developed a communal language. The project culminated in a 4 hour performance at Ugly Duck. In these shared actions, stonestreet hopes to find new qualities of engagement and entanglement.


‘The Lie of the Land’ Joanne Coates

The Lie of the Land‘ – Joanne Coates

Joanne Coates is a visual artist and documentary photographer working in the North East of England. Her new work The Lie of the Land, addresses the erasure of contemporary working-class histories and culture in the countryside.

Coates works at the intersection of socially engaged practice and traditional British documentary photography. The Lie of the Land explores the erasure of contemporary working-class histories and culture in rural communities. Based on 12 months of socially engaged work with twelve women living and working in rural or agricultural settings in the North East of England, and who identify as working class, The Lie of the Land tells the long-ignored social history of gender and class in these settings. Images, objects and spoken word testimony are combined to give an insight into the lives of these women that is both honest and revealing, as well as being tied to the artist’s own personal experiences of being a part of the communities she documents.

‘Our partnership with Photoworks has been further established through the Jerwood/Photoworks Awards 4 Exhibition coming to Belfast Exposed this year. Both organisations understand that investment and commitment in early career artists is required to give them the opportunity to hone their skills and realise their ambitions. Heather Agyepong’s work drawing attention to black mental health is impactful and aids our understanding of racism and associated mental health issues. Meanwhile,  Joanne Coates’ work focused on the female working class voice in a community context is thought provoking and relevant in contemporary terms. Both are artists of the future and the here and now. It is important to bring them to bring them to Northern Ireland audiences’.

– Deirdre Robb, Director, Belfast Exposed

Heather Agepong – Jerwood / Photoworks Awards

ego death‘ – Heather Agyepong

British Ghanaian visual artist Heather Agyepong has developed a new work for the Awards, entitled ‘ego death’, inspired by Carl Jung’s concept of ‘The Shadow’, it is a journey of discovery, exploration and acceptance of the self.

Seeking to unpick and discover the hidden aspects of her own personality, Agyepong’s work dissects issues of shame and repression through a series of double-exposed self-portraits and mixed media, to reveal hidden aspects of her true self. Exploring techniques including free writing/painting, observation, and self-reflection, Agyepong has produced twelve self-portraits using double exposure to create an arresting new visual language where her shadow characters are revealed.

ego death is a project about self-discovery, imperfection, compassion, and radical acceptance.

Tomas Monteiro

Tomas Monteiro is a ceramic artist based in Belfast. His practice examines the exploration of personal experience and his identity as a queer person. He approaches work as a syncretic experience of his life and expressions of his interests. He works with processes of mould-making, performance, sculpture, installation, and grounds his practice in ceramics. His recent work traverses the experience of a young queer artist who is self-examining ideas of queerness alongside simultaeneously trying to make sense of personal traumatic experiences he has experienced as a young queer artist including mental, physical and sexual abuse.

Bond of Memories
Bond of Memories‘ explores themes of connection in the context of the mind and queer sexuality. By way of ceramics, the show explores sexuality and love through the queer lens, questioning how connections occur and how queer people create and live with their chosen family. Central to Bond of Memories is the idea that experiences create inter-personal links and these links become a chain; as the chain gets larger it creates weaknesses.

“I think of memories and my mind as a chain, a chain of memories from the good ones to the bad ones. The show takes big inspiration from my childhood and core memories of it as it grabs inspiration from one of my first games; Kingdom Hearts.

When I started to think about this show I wanted it to represent my mind and how we as people have experiences that shape us. Using ceramics, audio and elements of multidisciplinary practice I was able to create this show to represent different experiences, good and bad while still pulling inspiration from core childhood memories.” – Tomas Monteiro

Niamh O’Malley’s Gather

The Golden Thread Gallery is excited to host Irish artist Niamh O’Malley in our main space after the hugely successful Gather; Ireland at Venice 2022. Gather was the national representation of Ireland at the 59th International Art Exhibition of La Biennale di Venezia by Niamh O’Malley, curated by the Temple Bar Gallery + Studios.

The exhibition for Golden Thread Gallery, opening in April 2023, is informed by her work for Gather and will explore the breadth of O’Malley’s current practice. O’Malley’s sculpture and moving image works are intended to hold us in the space for which they are made. She uses steel, limestone, wood, and glass, and shapes and assembles objects to create a purposeful landscape of forms in the gallery space. Her sculptures, tall and free-standing, ground-bearing and cantilevered, with paced and looped moving image, inhabit and animate the gallery.

Niamh O’Malley was born in Co. Mayo, and lives in Dublin, Ireland. She has made numerous major exhibitions in recent years including The Douglas Hyde Gallery, Dublin; John Hansard Gallery, Southampton; Bluecoat, Liverpool; RHA, Dublin; Lismore Castle Arts; Grazer Kunstverein. Niamh O’Malley studied in Belfast, lived there for over ten years and was part of the early days of Catalyst Arts. She returns to present a selection of her moving image and sculptural work in the large industrial spaces of The Golden Thread Gallery.

Donovan Wylie

Bank Gallery (High Street)
Donovan Wylie

Belfast Exposed is delighted to present Blinded by the very force it imagines it could handle, a new film from Donovan Wylie and Peter Mann, which contains never before seen footage from the demolition of the Maze Prison in 2007.

Blinded by the very force it imagines it could handle builds on work done by Wylie as part of his landmark exhibition The Maze (2004) – which was first shown at Belfast Exposed – that saw Wylie given access to the Maze/Long Kesh Prison site as in stood empty, but kept ready for future use, in Northern Ireland’s post-Good Friday Agreement political landscape. By this time, the Maze had become a location synonymous with the Trouble, due to its role in holding ‘special category’ prisons with links to paramilitary organisations and as the site of the infamous Hunger Strikes of the early 1980s. It was arguably one of the most famous prisons in the world. Despite having been emptied in the years following the signing of the Good Friday Agreement, the site was maintained and kept in readiness for several years, prepared in case conflict returned. It cast a long shadow over the early years of post-Good Friday Agreement Northern Ireland, as the first steps towards devolved, power-sharing government were being made.

It was in this context that Wylie was given free, unsupervised access to the Maze in order to document the site. His images captured both the physical structure of the prison, as well as the psychological impact of the Maze’s architecture. The Maze brought Wylie widespread critical acclaim and was a powerful documentation of living history in Northern Ireland.

In 2007, Donovan Wylie and filmmaker Peter Mann recorded the demolition of an internal perimeter wall of the Maze/Long Kesh Prison, as part of Wylie’s work to document the demolition of the site following the prison’s final closure. It is this, previously unseen, work that forms the basis of Blinded by the very force it imagines it could handle.

In this new work, Wylie continues to chronicle the architecture of conflict. His work is rooted in the idea of art as an antidote to the nihilism that conflict can induce, and was influenced by his experiences as a child growing up during the Troubles (Wylie was born in Belfast in 1971). In Blinded by the very force it imagines it could handle,  the scenes of the demolition are directed so that at different moments, the viewer feels oppressed by the wall of the Maze, and then paradoxically protected by it. The almost overwhelming sound as the wall is destroyed evokes Wylie’s childhood memories of sleep broken by explosions in the city, and the destruction of the wall creates a space into which a sense of peace emerges. The film features excerpts of Simone Weil’s ‘The Iliad or the Poem of Force’, read by Paula McFetridge.

Belfast Exposed will also be using Blinded by the very force it imagines it could handle as an opportunity to publicly open the Bank Gallery, a new complex of exhibitions and event spaces and artist studios on Belfast’s High Street. This will be the first public event held in the Bank Gallery.

Dan Shipsides

Deployed throughout the Cathedral Quarter area, Shipsides will present a public artwork that features a series of twinned flags that play with and celebrate the expanding communicative beauty and potential of the spaces between laughter and language. A photographic series of the flags from another location will also be exhibited in the Green Room, Black Box, capturing the syzygetic unfurling and furling of the uttering of time, space, language and laughter. Ha ha.

Dan Shipsides, an artist based in Orchid Studios, Belfast, exhibits nationally and internationally and has received multiple awards. He works individually and within collaborative dynamics, notably that of Shipsides and Beggs Projects. He also teaches at the Belfast School of Art.

MEMENTO – AGREEMENT by Amanda Dunsmore

A series of artworks based on Amanda Dunsmore’s recollections of making the silent filmed portraits which comprise the artwork AGREEMENT.

AGREEMENT started in 2004 with an aim to film and acknowledge the important roles played by all the signatories of the Belfast ‘Good Friday’ Agreement. The resulting artwork consists of 14 video portraits through which the audience reflect on each of the sitters, as the sitters reflect silently.

This exhibition presents new work, entitled MEMENTO – AGREEMENT, involving drawing, text and printing process to revisit each of the video portraits that Dunsmore undertook between 2004 and 2022.These reflective portraits are made from a mix of typed text, pen & ink portraits and map etchings.

The drawings are accompanied by a video installation of Billy’s Museum, another artwork by Amanda Dunsmore that the AGREEMENT sitters viewed as their silent portraits were captured.

Gift to the City, Micah Purnell & Rachel Ho

During the last weekend of Cathedral Quarter Arts Festival, 6-7 May,
ceramicist Rachel Ho, artist and designer Micah Purnell and painter Orla Gilkeson
will leave 300 beautiful ‘gifts to the city’ around Cathedral Quarter to find and keep,
to remind us to embrace our stories of loss and self-worth.


Artists will leave 100 Kintsugi pots, 100 You Are Enough oak engravings, and 100 square abstract paintings which the public are invited to find, and keep as gifts. The art will be placed on the streets of Belfast around Cathedral Quarter on the final weekend of CQAF, 6-7 May.

Each gift will be accompanied by an invite to share anonymously how the artworks resonated with those who find them at www.gifttothecity.org where you’ll be able to read stories of difficulty and hope as the artworks are found.

Rachel Ho (www rachelho.co.uk) is a ceramicist who has exhibited nationally. Her work is inspired by Kintsugi, an ancient Japanese method of mending broken pottery with gold, resulting in more precious pots. Rachel explains: “I deliberately scar the porcelain pots to symbolize the fragility of our lives. These scars are then filled with gold lustre; expressing the mystery of new beginnings and new life even in our deepest pain. Everyone bears a scar, whether physical, mental or emotional. The scarred pots represent all our stories of loss and reflect the beauty of hope, healing and renewal.  Just as ancient pots have told stories for thousands of years, my art continues in that tradition connecting ceramics with some of our deepest stories.”

Micah Purnell (www.micahpurnell.com), whose clients include The Guardian, Elbow and the NHS, is a text based artist who has exhibited in group shows alongside Turner prize winner Douglas Gordon and global street artist JR. The award-winning artist and designer, renowned for his typographic work that took over Wembley Park during the Euros works to bring the humanities to public spaces. His well known phrase ‘You are Enough’ has appeared across the city over the last few years as giant banners and billboards. He says:

‘My work is a lot about togetherness and self-worth. The oak reminders are made by Chapel-in-the-fields who use wood as a vehicle to work with people who have mental health vulnerabilities. I hope the phrase You Are Enough will help people to cut themselves some slack from the ever demanding voices in society and recognise the spark of beauty in themselves.”

Accompanying Rachel and Micah will be Orla Gilkeson who will be leaving 100 square abstract paintings.

Orla Gilkeson (www.orlagilkesonart.com) is a contemporary Northern Irish artist whose work explores memory and a sense of place, often through abstracted landscape paintings. This collection of 100 paintings uses salvaged wood as a vehicle to communicate the importance of restoration and hope through the connections we make with what we find around us.

‘I have created 100 abstract paintings on wooden squares salvaged from old pallet boards. Each one bears a unique visual history of layers, marks, and scores with faint, gold lifelines of hope running through. We are replenished when we seek to salvage the lost and forgotten parts of ourselves and our worlds, creating threads of hope through connection.’

‘Gift to the City’ is a Passion Art project. It is dedicated to our late friend and founder Lesley Sutton, who passed away shortly after Gift to the City in Manchester, in the summer of 2022. Lesley founded Passion Art to build bridges between sacred and secular spaces through art. She was as beautiful in dying, as she was in living.

The project aims to help people feel seen and less alone, to recognise we all have our daily battles and to create a sense of hope and healing.

www.gifttothecity.org  //  #gifttothecity

@PassionArtTrail twitter @passionartuk insta

Rachel Ho
www.rachelho.co.uk  //  rachdot@hotmail.com  //  @rachelhoceramics insta  @rachelhoceramic twitter

Micah Purnell
www.micahpurnell.com  // studio@micahpurnell.com  //    @micahpurnell insta
0161 236 5459 or  07990 533 749

Orla Gilkeson
www.orlagilkesonart.com orlagilkesonart@gmail.com
@orla.gilkeson.art   insta

You can anonymously share how the gifts resonate with you: www.gifttothecity.org

Deirdre Mc Kenna: Mundane again, again… A retrospective

Mundane again, again… A retrospective

25 April – 13th May 2023

PS² is most excited to work with Deirdre McKenna (b. Dublin, 1973) for her solo show Mundane again, again… A retrospective, where we will delve into the artist’s extensive back catalog of works. Deirdre’s practice broadly spans diorama, painting, sculpture, photography, curation, installation and video. It stems from her desire to visualise autobiographical stories, while allowing room for the viewer to embellish the narrative or alter the meaning. In recent years, her socially informed and engaged practice has led to commissioned projects with local activists from Reclaim the Agenda for their processions; the work was later selected for inclusion in the British Textiles Biennial 2019.

Deirdre is a visual artist, art worker and studio member of Flax Art Studios, Belfast. She studied Fine Art Painting in the RTC, Sligo, followed by a BA at Ulster University, Belfast. In 2007, she graduated with distinction in an MFA at Ulster University.  Nationally, Deirdre has exhibited at The Model Arts Centre, Sligo; FE McWilliam, Banbridge; Golden Thread Gallery, Belfast; and CCA Derry~Londonderry. Her work has also been exhibited internationally (including Taiwan, Tokyo, and New York) featuring in shows alongside Tracy Emin, Grayson Perry, Henry Moore, Phil Collins, Susan MacWilliam, Mark Wallinger, Christine Borland, Seamus Hanrahan and Stephen Rennicks. Her work features in several private and public collections, including Arts Council of Northern Ireland.

Deirdre has worked with arts organisations and activist initiatives in Belfast since 2000 such as Catalyst Arts, Golden Thread Gallery, numerous artists, curators, communities and collections (including Tate, Imperial War Museum, British Council, and Arts Council of Northern Ireland). Since 2017, Deirdre has worked both as a freelance arts administrator, and as the Creative Programmes and Participation Lead with University of Atypical, Belfast.

Cá a nDeachaigh Mé? Where am i going?

Cá a ndeachaigh mé? Where am i going?

“Cá a ndeachaigh mé?” is a 16mm experimental film that delves into how emigration can transform our sense of self, sometimes requiring us to leave not only our home geographically but also linguistically. The film follows a young couple’s emotional journey from the countryside of Donegal to Glasgow, as they navigate new cultural landscapes.

Through a dynamic and poignant soundscape, the film highlights the challenges that come with moving and acclimatising to a new place, and how this often can lead to a morphing of both identity and relationships.


Fionnuala McCormack – Director
Lia Campbell – Producer
Étáin Saoirse Sweeney – Audio Director & Co Creator

Production Company: Dumbworld



With support from Bòrd na Gàidhlig, Meath County Council Arts Office and Creative Ireland

Supported By



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