Richard Malone, a prominent Irish artist, concluded his showcase, ‘A Record of Tenderness’, at the Dock arts centre in Carrick-on-Shannon, Co Leitrim this weekend. The exhibition, featuring textile installations mounted on delicate steel structures, signified an innovative progression in Malone’s artistry.
Despite being recognised widely in the realm of fashion, he insists on maintaining a low-profile regarding such praise, primarily considering himself an artist. His work has been acknowledged and showcased by notable galleries, including the National Gallery of Ireland and highly esteemed museums, such as the Museum of Modern Art and the Metropolitan Museum of Art in New York, in addition to London’s Victoria and Albert Museum. The Wexford-born artist also organised ‘Making and Momentum’, an exhibit involving a dialogue with Eileen Gray’s work, exhibited initially at E-1027, Gray’s renowned home in Roquebrune-Cap-Martin, France, before being toured.
While at the Dock, Malone, alongside his father, engaged in painting subtle colour examples on the wall, delved into the Dock building’s labour history, and pondered on the often unrecognized hard work associated with the fashion and art industries. Malone explains, “I constantly contemplate stitch, language restrictions concerning national identity, as well as the importance of showcasing my work (which mirrors these themes) in rural Ireland. That seems crucial to me.”
Speaking from his Hackney Wick studio in London, Malone expressed that he became acutely aware of his working-class roots after moving to Britain. Subsequent interviews often exaggerated his working-class identity – an experience he finds peculiar. He further articulated his confusion when his queer identity, often reflected in his androgynous garment designs – all tailored to his body, was often omitted by fashion editors to accentuate other aspects of his identity.
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Malone’s captivating creations hold an undeniable attraction. Their method of crafting and arranging materials, the resulting draping and stitching, can evoke a sense of predetermined form. The pieces, bearing a contemporary yet haunted feel, are teeming with history and spectral elements of hidden identities and lineages whispering beneath their surface.
Earlier this year, during the Met gala exhibition where Malone’s art was showcased, they opted out of attending the celebrity-packed celebration. Their feelings on such events are quite mixed, mentioning feeling overwhelmed and finding such events, to an extent, superfluous. Nevertheless, they appreciate the strangeness of it all and strive not to let these occurrences define them.
In Malone’s younger years, representatives from MoMA once visited Malone’s then-working and residential space in London to acquire some pieces. Malone had to tidy up their chaotic, warehouse-like space, riddled with miscellaneous items, just in time for their arrival. The representatives were of the view that an artist’s work is essential for a collection, but only “post-mortem”.
Finding this a peculiar viewpoint, Malone recalls it sparking a realisation that they were onto something worthwhile, despite being unable to fully express what that was. They recall the representatives discussing Russian constructivism’s importance and more, all new concepts introduced right in Malone’s art studio.
Malone admits a dislike for fame, potentially stemming from unpleasant early encounters with notoriety. This is a sentiment that seems to be shared increasingly among budding Irish artists. In Malone’s words, “The supreme luxury for me is the capacity to create freely, away from that. I believe allowing fame in freezes one’s identity.”
Questions often arise about who has had a profound impact on Irish artistry, or who has revolutionised the artistic framework. The response is simple: Enya. Enya is the unfaltering standard. She is the one who came in, ripped everything apart and set new rules. The essence lies in striving diligently for excellence, appreciating the chance to create, and living a life separate from any public presence.
I have an inner desire to discern when enough is enough, particularly with outside forces pressuring to monetise, to seize opportunities at branding, to engage in advertisements like the one from Volkswagen. Why would I opt for that? Why squander my free time on such activities? I find myself lucky. Not originating from a wealthy background, I was never under the compulsion to earn hefty sums or purchase grand residences; these are absolutely not within my aspirations.
I don’t equate that with accomplishment. A shift in the perception of success is required, perhaps a deeper connection to the feeling. Every opportunity doesn’t need to be grabbed. I’ve declined numerous offers that I’m currently immensely thankful for. This choice was never taken lightly.
The ability to create abstract sculptures and installations and to generate income from that is an unimaginable luxury; it’s far removed from where I envisaged I’d end up. I’m content with this outcome. I have no desire to partake in hashtag trends. Promising writers transformed into disappointing influencers. As per my belief, only your work and its solitary voice truly remains.
I centre my existence around Patti Smith’s comment: her singular aim is to maintain a good reputation and consistently produce quality work. I believe this is both genuine and truthful.