Louisa gave the works of Beckett to inspire Kev’s piece. Around We Go is about inspiration - an epiphany that washes over you; leaving you floating and weightless in thought. Beckett’s existentialist words describe a great beauty that isn’t there. Kev brings the viewer into a place that is from, but not of this world. Discussing his concept with aerial silk artist Ria Murphy, they worked with Burschi Wojnar and Lewis Byrne to capture a number of movements that communicated this idea of submersion. Folding Waves recorded Sam Comferford improvising on Tenor Sax and Clarinet and created the audio accompaniment in their studio.

Is it about a Bicycle, may or may not be about a bicycle. It may not even be about many bicycles. It also may or may not be a quiet, slightly amusing, and fittingly off-kilter homage to the literary genius that was Brian O’Nolan (aka Flann O’Brien, aka Myles na gCopaleen) The piece draws a connection between the musings on the nature of bicycles as described in O’Nolans seminal ‘The Third Policeman’ to the constant busy flow of cyclists along the canal today.

The basic form of this piece is a female figure running, morphing, and changing from fluid shapes, to cubist blocks, eventually separating into abstract shapes that fill the screen and reforming to continue the cycle. The inspiration comes from the female ownership of Parsons Bookshop, inspiring artists, poets, and writers over four decades. Each step she takes morphs and changes her to suggest the passing of ideas and cross inspiration between so many important Irish artists that took place there.

Created by Carol Freeman, Katie Sherlock, and Ciara Nolan of Paper Panther.

Disruption is a work inspired by the life and work of Eavan Boland, and in particular her poem Escape. The film takes place along the bottom of the Grand canal, where a stone stirs up the silt of the canal basin, which comes alive as we witness a struggle between a woman and her prescribed role in Ireland, viewed through the lens of Eavan Boland’s imagery.

Boland's work disrupts the mythical, idealised representation of women in Irish Art, which, she felt, did not represent the reality of being a woman in Ireland and this idea informs this film.

The piece was inspired by Elizabeth Bowen’s childhood and how her surroundings influenced how she saw the world. It reflects on the adult world through the eyes of a child and all of the wonder, awe, and fear that accompanies that. Bowen’s relationship with the canal was a complex one; the canal was a key feature in her childhood, while also a source of fear as she worried the waters would one day rise to her window.

The first half, full of simplistic shapes and a soothing pastel palette represents the child’s perspective of the adult world. The second half brings in the theme of time passing as we step into the adult world.

Sergey used the principle of creative relay as the main artistic tool for this project, with the sound directors creating small narrative audio sketches, which were passed on to the motion designers. The basis for this piece is a voice recording of the poem 'Let me come inland always' by Mary Lavin, performed by Cathy Belton. With the help of an algorithm, the poem generates a real visual wave based on the dynamics of sound vibrations from the audio track.

In the context of the visual narrative and my author’s idea, the poet stands on the bank of the Grand Canal and reads her poem, while the waves of her rolling voice spread over the water’s surface.

Patrick Kavanagh, James Joyce, Elizabeth Bowen, Eavan Boland and Flann O’Brien are just a few examples of Irish writers who have lived beside, written about or set their work within this literary channel. Taking inspiration from this, the exhibition identity came to life as the unfolded dust jacket of a book from this time and place.

Research began by looking at 20th century book covers of these writers, antique book shops from the area and other printed ephemera from the Canal’s rich literary history . Looking quite specifically at the areas of Wilton Park and Baggot street Bridge, these spots were used to inform the illustration of the canal, with its romantic weeping willows, lily pads and swans.

Light travels 8 minutes 20 seconds from the surface of the boiling sun to delicate life on earth. Illumination is an invitation to follow the journey of a light beam through an hypnotic, contemplative and meditative cosmic Trip. Without any use of CGI (computer generated imagery) the piece was created by filming ultra close ups of colorful chemical reactions and live organisms. A Score was created by Abul Mogard, offering an immersive, introspective experience, with the hope of creating the context to the visual work.

This piece set out to explore the emotional journey of rebirth elicited in Patrick Kavanagh’s poem ‘Canal Bank Walk’.

The Canal and its flora and fauna reflect the subjective state of the character as they progress through the stages of rebirth. Starting in a heavy and burdened place, moving to a moment of release, and finally arriving at a place of acceptance and ultimately a sense of oneness with one’s surroundings.

The look, feel, and sound of paper was used throughout this piece to bring the material canvas used by Kavanagh and other poets onto the canvas of this screen.