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Ciarán MacAoidh

Sound Artist

2016 - 2017
Ciarán Mac Aoidhweb

Ciarán MacAoidh took advantage of this long residency to work on research and learning. He spent time on the rivers, lakes, and shorelines of the North West, Clare, Kerry, and Dublin as well as in caves, quarries, tunnels, and tombs all over Ireland. In these locations, he refined his recording methods and found new sounds and new ways to work. As a resident of The Dock, he found a community of other artists and craftspeople and was provided with the space and time needed to develop his practice.

His major projects vary in theme and style but draw together elements of field recording, documentary, and experimental music.

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MacAoidh's musical piece, A Palm to Rest My Cheek Upon, was installed in an exhibition at The Famine Workhouse in October 2017 alongside the works of Jessica Kelly and Nollaig Molloy. It was also released by Was Ist Das? Records, an independent record label based in the United States.

The work attempts to represent through sound mental illness and of the feeling of being trapped inside an unwell mind. It was recorded in several locations around Leitrim and Roscommon, including underwater in Lough Key and inside the Cave of the Cats, a traditional entrance to the Irish underworld protected by a monstrous, three-headed cat.

The artist’s second completed work, Crossan's Dogs, is a long piece, rooted in practices of mourning and grief in Irish funeral traditions, such as keening and waking the dead. Combined with the theological work of former Catholic priest, Thomas Crossan, the work is collaborative and involves the work of singer/songwriter Lisa O'Neill; saxophone player Cathal Roche; and folklorist, archaeologist, and traditional musician Dr. Billy MagFhloinn, who also casts Bronze Age and Iron Age horns.

About the Artist(s)

Sound artist and field recordist Ciarán MacAoidh was an artist in residence at The Dock from 2016 to 2017. By the end of his time at The Dock, MacAoidh realised two large works. He worked with the young people of the Leitrim Youth Theatre and was commissioned by the National Maritime Museum to complete a documentary-style installation for the museum based on the landing of U-35, a German submarine, in Ventry Harbour on the Dingle Peninsula at the start of the Second World War.
In his field recording and documentary work, MacAoidh has looked to the underground music scene and to independent filmmakers to learn practical working methods. He enjoys the pared-down approach of these artists, avoiding controlled environments and situations where the results are guaranteed and repeatable. This gives him space to experiment and to chance upon new sounds and new ways to approach the themes of his work.

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