Aidan Kelly: ‘Being an artist is almost built into you from a young age’
Aidan Kelly’s work offers a commentary on Dublin in a state of flux, and his latest exhibition, No Ordinary LOVE, attempts to reckon with these changes to the city and his personal relationship with it.
Photographer Aidan Kelly uses both traditional analogue and digital techniques to create works that draw on street photography while offering a commentary on Dublin and its evolution.
No Ordinary LOVE attempts to reckon with these changes to the city and his personal relationship with it. Using the idea of a relationship where the city takes the form of a lady, a woman not unlike Anna Livia, he writes her messages, hoping she still loves him. She’s taking her time to get back. She might have left the city. She reads the words but ignores his plea, maybe like a government on the street that doesn’t have time to answer impertinent questions.
Amongst this work is a series set around the spire that ties in with the idea of people waiting and hoping and a city in flux. These works have conversations about the future, love for a city, and whether it can be better. The political subtext expands the idea for further works or a resolution.
Was a career as an artist something you always aspired to?
I’m not sure you have the desire to be an artist at the start. It’s almost built into you from a young age, much like youngsters are born to be scientists or footballers. However, there were also influences, and learning is always helped by having paper and pens available. I’m drawn to these things, and then cameras turned up. I saw images that made me think, but I couldn’t fully articulate that at the beginning. It was just a feeling.
You’ve written about ‘the camera as a means of remembering’ — tell me more about this.
It’s as simple as not forgetting what I see around me, I would think of myself as a part of Dublin’s culture without being too, y’know, and I think it’s a good idea to try to let Dublin as an idea help me create photos and sometimes illustrations of changing places and streets or different people and their energies.
What is your process when creating a new work?
I’ve imagined I’m having a conversation with a lady who resembles the idea of Anna Livia Plurabelle or Molly’s wheel and that feels like a stream of texts that don’t get a reply, she’s like a ghost, not unlike the standard reply you might get if you contacted a TD about something to do with the way things are. It contradicts how much love I have for Dublin. That’s pretty inspiring and provoking.
How do specific themes and experiences feed into or present themselves in your art?
I think you need a strong sense of purpose when creating any kind of work, including photographs. I have always felt a strong connection to Dublin, which made it the perfect subject for me to take photos of and use as a backdrop to convey a message. Doesn’t drama originate from the plot of a story, given by the original theme? I think we’re in a world where a lot of the antagonists are getting away with so much.
Tell us about the exhibition, No Ordinary LOVE.
It’s forty photographs from many different scenes in Dublin over the last thirty years. Mostly street photography, some from club culture, and some with messages written over them, along with a good set of portraits that feed into the idea: I remember Dublin in a certain way and would like to recapture some of that feeling. Can we, as a city, be better? More community, less racism and sexism, and better energy where it’s needed!
What has the reaction been like so far?
People identify with the work because it’s about Dublin, but then the story grows on them, and that makes them smile, or think differently about some of the locations and ideas I have about how a place makes you, as a person. That raises eyebrows. I mainly received very kind messages and words of regard about the book. Very encouraging.
How has your relationship with Dublin evolved in recent years?
Slightly frustrating, yet inspiring, to be a part of the city’s culture and to make work from it. I want Dublin to be the best city in the world.
I believe that without thinking it through, we’ve closed most of the clubs and functional outdoor spaces to meet and dance. There’s a lack of energy in creating a housing solution. According to the latest count, 32 TDs are also landlords, and they may not want rents to decrease. And maybe parts of Dublin without investment in our younger people, who I believe need some love. More nets for goalposts, please. Community centres.
Who is someone you look up to in the realm of Irish arts?
Robert Ballagh, the artist, and David Holmes, the producer and DJ.
What has been the highlight of your career so far?
DJing at and running a stage for Body and Soul. Photographing Bernie Sanders in Trinity College, and Andrew Weatherall, down near Store Street, used the photo for their tour.
What is one thing you wish everyone knew about working in the arts?
No one is coming to help you at the beginning. You just have to make the work for yourself, but listen to people who don’t like what you do, even if you respect them. Work out how to get better.
What would you say to a budding artist unsure of their next steps?
Draw the idea, write it down, and then draw again. Take photographs on your phone; they cost nothing these days, but take time to ask yourself, why?
What is one piece of advice you would give to someone hoping to have a career in the arts?
Have another idea that helps you accomplish the work. I’m also a DJ and work for great people like Jameson or Drury Buildings. They have helped me survive what is a costly existence.
Aidan Kelly’s life in culture
The last thing I saw and loved… People were asking my Mam if it was really her at the exhibition book launch.
The book I keep coming back to… Always reference books. I’m reading the life story of Charles Stewart Parnell and Last Night a DJ Saved My Life by Bill Brewster.
I find inspiration in… Pencils, fountain pens, watercolours and heavy paper.
My favourite film is… The Long Day Closes by Terrence Davies, 1992. All the President’s Men, 1976. The Post with Meryl Streep and Tom Hanks, 2017.
My career highlight is… This interview with IMAGE! Or maybe making my first photobook.
The song I listen to to get in the zone is… I’m listening to a lot of Dillinja on Valve Records, Bicep is on heavy rotation, Casino vs Japan and Suso Saiz.
The last piece of art I recommended is… The inaugural opening show for the Image Museum, located near Spencer Dock, marks the start of something special for photography and photographers from not only Ireland but everywhere.
I never leave the house without… A Freitag bag full of everything: headphones, a tin box for cards.
The performance I still think about is… Susan and Darren, Dublin Fringe festival 2010, the first photograph from Richard Avedon’s show in the Met, Samuel Beckett in a black suit, 2002.
The best advice I’ve ever gotten… If it’s not good enough, get closer.
The art that means the most to me is… It’s actually a website for photographic films called The Darkroom Rumour.
The most challenging thing about being a photographer is… Missing photos because I had no camera with me. Trying to convince those with cameras that it’s ‘why, not how’.
If I weren’t a photographer, I would be… A DJ. Hang on, I am a DJ! Always have a second idea.
The magic of photography to me is… Telling the stories afterwards about how you got into the situation in the first place, or getting out!
No Ordinary LOVE exhibits in Rathfarnham Castle until August 31. The No Ordinary LOVE limited edition portfolio book is on sale now.
Photography by Aidan Kelly.
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