9th July - 18th July
She Could Taste The Metal In Her Mouth Like Blood
blackartprojects and Bridie Lunney

She could taste the metal in her mouth like blood standing in the place where the house used to be. The roof
now forced below the foundation and the body’s relationship to architecture inverted. Materials caught in
stasis after the fierce activation of fire; familiar yet unrecognisable. The space was no longer a collection
of domestic objects contained within four walls, everything fused into a cohesive whole without hierarchy.

Acknowledging the house she grew up in destroyed by fire as a genesis for her practice, Bridie Lunney’s works are developed intuitively as well as in relation to the site of presentation. Performative and sculptural
gestures within the works punctuate relationships between architectural space, objects and the body.
Relationships, which suggest the poetic mimesis of psychological spaces.

At stake in Lunney’s process for this work is the apprehension of the moment of transformation, the location
of a threshold in our understanding. Lunney animates her objects with a libidinal energy and engages a
dialectical economy that brings together disparate and distinct materials and forms. She is interested
in the tension or charge activated by that which renders the object a vital presence at the site of