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Patrick Hough

MA work

This body of work employs the use of film props; complex objects that are imbued with a multiplicity of times, narratives and histories, rendering them more implicit as objects than as simple cinematic devices.

The film prop - unlike its genealogical cousin, the museum artefact, which spends its life being studied in a comfortable temperature-controlled museum environment - is marginalised and undervalued, inhabiting the dusty shelves of a voluminous prop house.

If we admit the significance of these cinema objects along with museological ones, and go beyond the established hierarchy of facts and fictions, of real and imitation, we can start to recognise the prop as an object of history in its own right. For if our visual history forms part of our visual culture, which itself mirrors our shifting socio-political context, then these objects can reveal much about the politics of representation within our systems of signification.

In this project the film prop is dislocated from its original minor role within a cinematic mise-en-scene and is elevated in status. The object’s authority is both constructed and undermined through differing modes of interpretation and historicisation, ultimately exposing the methods by which we manipulate the past in order to write a new future.

Info

  • Patrick Hough profile image
  • MA Degree

    School

    School of Fine Art

    Programme

    MA Photography, 2013

  • This body of work employs the use of film props; complex objects that are imbued with a multiplicity of times, narratives and histories, rendering them more implicit as objects than as simple cinematic devices.

    The film prop - unlike its genealogical cousin, the museum artefact, which spends its life being studied in a comfortable temperature-controlled museum environment - is marginalised and undervalued, inhabiting the dusty shelves of a voluminous prop house.

    If we admit the significance of these cinema objects along with museological ones, and go beyond the established hierarchy of facts and fictions, of real and imitation, we can start to recognise the prop as an object of history in its own right. For if our visual history forms part of our visual culture, which itself mirrors our shifting socio-political context, then these objects can reveal much about the politics of representation within our systems of signification.

    In this project the film prop is dislocated from its original minor role within a cinematic mise-en-scene and is elevated in status. The object’s authority is both constructed and undermined through differing modes of interpretation and historicisation, ultimately exposing the methods by which we manipulate the past in order to write a new future.

  • Degrees

  • BA (Hons), Fine Art Media, National College of Art & Design, Dublin, 2011
  • Exhibitions

  • The Suspension of History Part II, Aperto Gallery, St Petersburg, 2013; All I Want is Out of Here, October Gallery, London, 2012; The Temple of Psychic Youth, Kevin Kavanagh Gallery, Dublin, Ireland, 2012; The Suspension of History, Basement Project Space, Cork, Ireland, 2012
  • Awards

  • Winner, Arts Council of Ireland Travel and Training Award, 2012; Winner, Burberry Fine Art Scholarship, 2012; Winner, Block T Graduate Award, Dublin, 2011
  • Publications

  • Waving Flags, Oliver Richon, Rut Blees Luxemburg, Blackdog Publishing, 2013; The Suspension of History, Stephanie Hough, Basement Project Space, 2012