Thomas Pool: What can you tell us about your background and your digital art practice?
Elaine Hoey: I returned to college in 2014, completing a BA and then an MFA in Fine Art Media in 2017. My decision to go back was driven by a desire to create art that I had never encountered before – to challenge myself through experimental mediums and unconventional art practices. My work explores themes surrounding biopolitics, including identity, nationalism, displacement, and more recently, the monstrous feminine, as a means to address themes of violence against women. As a new media artist, I work with Virtual Reality (VR), Artificial Intelligence (AI), live cyber performance, augmented reality, and generative art to explore how technology reshapes our relationship with ourselves and the nature of reality.
TP: As curator for the 2023 RDS Visual Arts Awards, what types of practice or subjects were you most interested in?
EH: It’s hard to single out any one artist, as each brought unique perspectives and strengths to the exhibition. The showcase featured an impressive range of artistic approaches, from highly conceptual work to immersive, interactive installations that engaged audiences on a sensory level. Alongside this diversity of media, themes of identity and the environment were prominently explored, reflecting the artists’ commitment to addressing both personal and global concerns. This blend of practices and thematic focus highlights the experimental energy defining emerging artists today. Exhibitions that emphasise this diversity are essential, offering audiences a chance to experience the broad spectrum of creativity that will define and secure the future of Irish art for generations to come.
TP: How do you view the legacy of the RDS Visual Art Awards? How has it impacted emerging practice in Ireland?
EH: Over the years, the RDS Visual Arts Awards has established itself as a vital platform that not only celebrates but also offers valuable opportunities to young artists at a pivotal stage in their careers. It provides visibility and recognition through both the longlisting process and annual exhibition. I think this type of award platform creates a bridge between academia and the professional art world, supporting artists as they transition from student to practitioner.
The RDS Visual Art Awards structure has been set up to really cultivate critical engagement and discourse around emerging arts in Ireland. Each art college in Ireland is visited by a prominent curator, and the judging panel includes respected artists, giving students the incredible opportunity to have their work seen by established figures in the art world at such an early stage in their careers. This exposure is invaluable, offering young artists an early platform for visibility and feedback. The awards offer emerging artists an entry point into Ireland’s art scene, giving them the opportunity to network and exhibit. Many recipients have gone on to gain residencies, gallery representation, and international exposure, proving the scope of the awards to support emerging artists.
TP: As an artist and NCAD lecturer, what advice would you give to art students in launching their artistic careers upon graduation?
EH: The art world can be challenging and requires time to find your place and develop your practice. It’s crucial to stay connected with the wider art community. Build relationships with other artists, curators, and mentors who inspire you. Attend exhibitions, join collective projects, and seek out spaces where your work can resonate and evolve. Collaboration can be just as vital as solo work – it offers fresh perspectives and often opens doors to unexpected opportunities.
Developing a sustainable practice is key, so find practical ways to support yourself. This might mean balancing art with other jobs initially, and that’s okay. Seek out residencies, grants, and creative opportunities that will help fund and expand your work. Lastly, be patient and stay persistent. An artistic career often takes years to find its stride, so allow yourself the space and time to grow, adapt, and refine your work.
TP: Are there any upcoming projects that you’re working on?
EH: I’m currently engaged in several projects. One is a new VR piece titled Bound and Unbound, which blends narrative, generative painting, 3D body-scans, and animation to tell the interior stories of three women. These personal narratives, expressed through spoken word, give voice to the often-unspoken emotions and reflections that shape a woman’s experience of her own body. The piece interweaves three themes – ‘The Displacement’, ‘The Shaming’, and ‘The Change’ – each exploring the body as a site of vulnerability and resilience, examining how societal pressures shape and, at times, distort women’s identities.
I’m also developing Cloaking, a collaborative art activism initiative, designed in partnership with Digital Hub Technologist and Trinity Researcher, Dr Dunja Skoko. This national project invites artists from various disciplines to experiment with image cloaking techniques that disrupt AI recognition and prevent online AI scraping. The initiative was inspired by critical discussions around AI and the arts, raised at the recent Beta Festival 2024 (betafestival.ie).
In addition, I’m working with artist John Conway on Colossus, an augmented reality project set within the Clondalkin community, which addresses complex themes of suicide and mental health. Recently, I also curated an augmented reality exhibition with NCAD Fine Art Media students, based in the Liberties area, which opened on 12 November and explores themes of identity, displacement, and community.
Elaine Hoey is an artist who mainly creates interactive based installations, appropriating contemporary digital art practices and aesthetics.
