Art Forms: Participatory Arts and Visual Art

Eimear Crowe

Areas of Interest:

I am interested in working on projects related to the 1916 rising in Cavan and particularly developing projects that look at women lives at that time in Cavan and developing ceramic/ sculpture art works that would reflect that. I would love to develop a project with the county museum looking at objects from that era, objects that relate to women’s lives at that time and developing ceramic art works. I would be interested in working with a women’s group whether a craft/ historical group in developing work with them and getting them involved in some way.

Interested in arts in education and now the creative process can contribute to developing creativity and problem solving within the classroom. I would like my practice through artist/ teacher collaboration. I am interested in creating work that both furthers my own creative process in tandem with developing student creativity and problem solving within a primary school setting. This project aims to be a mutually beneficial creative experience.

Eimear Crowe

I recently facilitated a project in Cavan with the Ark Cultural centre Dublin and the Cavan Arts office bringing original works of art into primary schools, the students and teachers. “Children and their teachers were encouraged to respond to the artworks at their own pace and leisure within their own schools, to take time for reflection and contemplation.  Every participating child is given an ARK 1 x1 journal for their own imaginative drawings, responses and thoughts.  The approach was a ‘slow seeing’, immersive engagement with art. “ I really enjoyed this experience and would like to develop an opportunity to link aspects of this learning into my own artistic practice.

I am modelling my project idea on the ‘Virtually There’ artist in schools virtual residency programme by the Kids Own Publishing Partnership.

I would like to collaborate with a couple of teachers in Cavan this is a creative risk for me as I have not done this type of collaboration before.

Also have I have previous experience with working with parent/ child art classes and teaching parents how to work with their kids in making and creating. Also adult education and project facilitation.

Interested in working in community group settings particularly single parent groups or historical societies.

Eimear Crowe Artist Profile



Training the Trainer FETAC Level 6 Component Certificate Distinction MDA Consult Learning Solutions.

Radio Programme Production FETAC Level 5 Component Certificate Distinction Cavan Institute.

Certificate in Peace Building & Community Development University College Galway.      

Artists in Education Training Course (Accredited) Cardiff Arts in Education Agency, Wales.

M.A Ceramics, University of Wales Institute, Cardiff, Wales. (Honours)

B.A Ceramic Design (Honours) Limerick Institute of Technology, Limerick, Ireland.

National Diploma in Product Design (Distinction) Limerick School of Art and Design, Limerick, Ireland.

Eimear Crowe Participatory Arts

......"A beauty all to themselves, no fine curves,

No straight lines, oblique packages of earth,

Dropped, abandoned to an outspoken wind. (1)

Eimear Crowe Visual Art

The objects made over the last period of time are spoons. I have been making spoons based on the shapes of the spoons exhibited at the Irish museum of country life in Mayo. The spoons are handmade from both wood and cow horns. Initially what attracted me to the idea of the spoon were its shape and particularly the scoop of the spoon as a hill or drumlin. The objects shape relates to its functions and to the landscape. How the maker is influenced by their surrounding landscape and how this can determine the ergonomics of an object. The history of Irish spades is interesting because at one time nearly every county or town land would have had a spade designed and commissioned by the land owner to fit the use of the tool and the soil type of their locality. Cavan County Museum has a collection of turf cutting spades that are uniquely from Cavan and are beautiful objects because they have been moulded and worn by the user through repetition of hard labour of digging out lazy beds or cutting heavy sodden peat sods. "Some objects do seem to retain the pulse of their making." (2)

So how can I can I tape into this pulse this extension of the bodies function and tool? I like wooden spoons I have carried the in suitcases from other places, I treat with oil should they dried out from too much use in the kitchen. I find wooden spoons very pleasing objects they are beautiful yet completely functional. The combination of domestic use and finding beauty in everyday repetitive tasks are like the punctuation of a poem during in a given day. Giving myself permission for beauty, function and touch within the confines of the object that represents the everyday activities, "Thou foster - child of Silence and slow Time," (3)

Exploring the making process and the appreciation of beauty in everyday objects and how these both relate to the necessities of getting through life, I am trying to reconcile these two things.

(1) Drumlins by Noel Monahan

(2) The Hare with Amber Eyes Memoir By Edmund De Waal.

(3) Ode on a Grecian Urn John Keats



Contact information and further details:

Facebook: Eimear Crowe