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'Jelölés | Marking' Solo Show, Budapest GalleryHungary, April 25th June 4th 2017
curated by Szegedy-Maszák Zsuzsanna & Török Tamás, 


ArtSlant Prize 2016 Grand Prize winner.

Essay, Marking Memory by Andrea Alessi.
ArtSlant prize winners Exhibition, Spring Break Art Show, NY. February 28th – March 6th, 2017.


'Currently 80' Curated by John Yau,
Sculpture Guild, Westbeth, NY. Februar 5th-24th 2017


Public Art Commission, Per Cent for Art Scheme, Sligo County Council in partnership with Nazareth Housing Association. In Collaboration with Artist Catherine Fanning


VISUAL ARTISTS IN PRISON SCHEME AWARD, Castlerea Prison, Co.Roscommon Ireland, December 2016. The Award is co-funded by the Arts Council of Ireland and the Department of Justice, Equality and Reform and administered by the Prison Education Service. 


'What if we got it wrong' curated by Nora Hickey M’Sichili, Traveling Exhibition 
West Cork Arts Centre, 29.10-13.12.2016
Leitrim Sculpture Centre, 16.09-16.10.2016
Wexford Arts Centre, 10.06-29.07.2016
F.E.McWilliam Gallery, N.I. 12.02-16.04. 2016
Centre Culturel Irlandais, 25.09-4.11 2015 
Chashama, New York, 'Contained' Curated by Lauren Smith, Sept 8-17th 2106
New York Art Residency and Studio (NARS) Foundation, 'Entree/Encore', Public Artist Talk, 6-8pm, August 23rd 2016,
Ortega y Gasset Project, New York, 'Goldenrod', Public Intervention, 3-6 pm, August 14 2016 
New York Foundation for the Arts, Immigrent Artist Mentoring Program, New York, June-October 2016
Wassaic Project, Wassaic, NY, Education Fellowship and Residency Award, June-August 2016
'A Dyeing Art' selected group show, Spartanburg Art Museum, SC, USA. 29.09.2015 - 01.14.2016

Marking Memory

by Andrea Alessi, Managing Editor of ArtSlant

 'The act of inscription—more than the content of the inscribed markings—is paramount. In visual and material fidelity, each artwork represents a person, one whose occupation and knowledge, their ownership and memory, leave a bold mark on the canvas. These graphic representations—and theyare both mimetic representations and abstractions—could be equally at home on a damp Irish hillside or in the modern art gallery. In the shared gestures of the farmer and the artist, two lineages come together.

Indeed, embedded into these artworks—literally felted and matted, smeared onto their surfaces—is a history of labor and tradition: men’s and women’s, commercial and domestic, craft and fine art. Like Pollock straddling his drip paintings, Varadi crouches atop the wool as she felts it, counting, rolling a single piece—the fleeces of five sheep—up to 25,000 times. She works each textile as if making pastry, turning it to ensure even shrinkage as its wet fibers hook together. The physical properties of wool fight back, taxing Varadi’s body as she transforms it from raw material into singular artwork.' Read full essay please click here.

MARKINGS, Leitrim Sculpture Centre, Ireland
Images by Keith Nolan Photography