Artists Statement 2018


My work explores the body as a place of resistance, and the interstice between the domestic and the public sphere. I try to use film to explore situations that go beyond the surface to tap into the energy of bodies that clash with their surroundings.
I use absurdity as a strategy in performance and film structure to create affective meaning. I am interested in the capacity of maternal ethics and aesthetics to unsettle or queer modes of subjectivity that are grounded in individualism.
The cut, and the interstice - the juxtaposition of the film image - are central conceptual figures in my practice.




Six cuts in a whale 
B&W digital 16mm/ est 6 min/2019





Currently in progress, this film explores the process of border-spacing through a collaborative choreography for the camera with my daughter. The finished work will have six cuts or variations of a series of movements, combining our bodies, set in locations from the studio to the street. Challenging the coming of age, mother-daughter film genres, this work attempts to explore feminine subjectivities through experimental physical and visual methods.

Performed by: Poppy Fitzgibbon and Úna Quigley
Sound/Music: Loz Fitzgibbon
Birds of my weakness
Digital 16mm and Super8/8'40"/Una Quigley/2018

Birds of...Trailer




Stills from Birds of my Weakness 2018

This work is based on Act 1, Scenes 1 - 4 of “The Mammaries of Tiresias”, a play written by Guillaume Apollinaire in 1903 and first performed in 1917. Apollinaire coined the term surrealist to describe his drama and the first words of his play were “I am a feminist”. It is about a housewife who develops psychic powers to change her body.
“Birds of my weakness” (a phrase Apollinaire used to describe female breasts), re-imagines Apollinaire’s character in a contemporary context and uses the influences of poststructural feminist writers on a rewriting of the words. It is a chamber piece and an absurd melodrama. 
Choreographed by dancer Sheena McGrandles, the film uses strategies of subversion, humour and corporeal expression to play with clichés of gender and our everyday domestic lives. 

Performed by: Sheena McGrandles and Loz Fitzgibbon
Sound/Music: Loz Fitzgibbon
Supported by the Arts Council of Ireland

Prelude ( to Birds of my weakness)
Super8 and digital 16mm/2min 20/ Una Quigley/2017 

Prelude (preview link)


                                   Stills from Prelude sequence to Birds of my weakness. 2017


A prelude sequence to film Birds of my weakness 2018.
A Super8 film made as a prelude to "Birds of my weakness". Informed by the words of Luce Irigary glimpses of domestic moments imagine the mind imagery of Apollinaire's character.

Performed by:  Loz Fitzgibbon, Poppy Fitzgibbon and Jade Fitzgibbon
Sound/Music: Loz Fitzgibbon

Broken Spectre
Super8 film/Colour/4min /Úna Quigley/2015

Broken Spectre (preview link)




A Brocken Spectre is term used for a natural phenomenon - when the coincidence of light, mist and elevation cause a projected reflection of your body.
Broken Spectre takes the idea into an exploration of physical reflection. Two men climb a 
mountain, starting and finishing each others movements, moving towards an absurd sublime moment.
It suggests being-other, through the action and the words of philosopher Jean-Luc Nancy, where he argues that the existence of the other is the necessary condition of freedom, rather than its limitation.

Performed by:  Hugo Seale and Loz Fitzgibbon
Sound/Music: Loz Fitzgibbon 


The Interval Super8 film/5min/Úna Quigley/2015


The Interval  (preview link)

                                              Still from The Interval, Super8 film, 2015



"The Interval" was informed both by the writings of Luce Irigary on the interval of sexual difference and by an excerpt from an anchor literary work– Iris Murdoch’s 1978 novel The Sea the Sea. In this work the central character’s equilibrium is disrupted by an unbearable vision in the sea. He describes the interval of time needed to process his vision and questions the possibility of his eyes projecting images onto reality like a cinematic apparatus.

Performed by: Hugo Seale and Natasha Bourke 
Hallucination scene in collaboration with: Kate Squires 
Sound/Music: Loz Fitzgibbon
Gifted Water (Super8 + HD video/11min/2012)

Gifted Water  (preview link)

                             

                   
                           

An experimental work based on a short story by the artist exploring identity and urban space, the film follows the directed performances of dancer Sheena McGrandles as she is permeated by different spaces and personas. McGrandles work was concerned with ‘doing’ and queering the body, with an attempt to disturb it and the space it inhabits. The character is narrated by her imaginary male voice until she appears in drag at the end. 

Performed by: Sheena McGrandles
Sound/Music: Loz Fitzgibbon
Supported by the Arts Council of Ireland





Úna Quigley  Bio.

Born in Dublin, Úna Quigley graduated from Crawford College of Art Cork and Winchester School of Art, Spain and U.K. in 2001 with an MA in European Fine Art. She has since exhibited widely such as at the Kassel Film Festival, the Rencontres Internationales Paris/Berlin, Centrum Berlin, Lewis Glucksman Gallery Ireland, and Crawford Gallery Ireland. 
Recently she screened her film work in Incognito Societies at the National Film Archive in Seoul and Berliner Liste, had a solo exhibition The Interval at Centrum Berlin and co-created a temporary cinema in the wilderness of Connemara entitled Wild-screen/Scáil-Fhiáin. She exhibited in Tulca The Headless City, Ireland in 2016, the Istanbul International Experimental film festival in 2018, and has a number of forthcoming exhibitions in 2019 including Traverse Rencontres Video, Toulouse.

She has been included in a number of publications, such as “Cooling out - on the paradox of Feminism” by Lewis Glucksman Gallery/Kunsthaus Baselland, and recently “False Optimism” published by Crawford Gallery Ireland and  "All Mountains begin on the Ground,", an artists book of essays. 
She has received awards from local authorities, Culture Ireland, the Arts Council of Ireland, and Ealaín na Gaeltachta and was most recently awarded an Artists Bursary award from  the Arts Council of Ireland in 2017. 


After Morocco/Hdvideo/colour/sound/10 min/2010

After Morocco 
                         



“After Morocco”  is a video art work based on an adaptation of the film “Morocco”, made in 1930 by Josef Von Sternberg.
My script takes certain scenes from the original narrative, distills the action and inserts unexpected elements to create an allegory about the unfixed nature of identity.
It was performed by George Hanover, Gavin McEntee and Conor Tallon and grant-aided by the Cork County Council, Ireland. Music/sound by Loz Fitzgibbon