Biography

Margaret Fitzgibbon is a contemporary artist living in Dublin. Her primary degree was in Sculpture but since 2000 she has concentrated on installation art practice that permits her to work across a range of media including film, sound, photography and sculpture. In recent years she has concentrated a range of related topics such as: the voice, collective memory, forgetting and archival processes through a PhD programme at The National College of Art and Design 2008-2014 in association with The Graduate School of Creative Arts and Media (GradCam).

She has received numerous prestigious awards and her work is in many national and private collections including: Cork City and County Archives, Cork County Council, University College Cork, The Arts Council of Ireland, The Derry Women’s Centre. During the 1990s and 2000s she received awards from The Cultural Relations Committee, The Arts Council of Ireland and Regionale des Affairs Culturelle La Ville, to take up national and international residencies in Ireland, Holland, Spain, Italy, France, Greece. In 2005, as part of Cork’s European City of Culture programme, went on residency to India – curated by Suman Gopinath and Grant Watson. Her recent large scale installations in Dublin include The Warehouse, Dublin Docklands,2010 Old School Yard, Pallas Studios in The Liberties, 2013Old Guardroom, yard and cells, Cathal Brugha Barracks, Rathmines 2016.

"My practice has evolved over the years from making sculptural objects to creating installations that utilise media such as: film, sculpture, print and sound. This method allows me to explore central concerns, like exploring how we remember, commemorate and keep records of our lives, individually, culturally and collectively and interrogating how it is possible to return to the past not as a fixed entity - often associated with nostalgia but rather as a fluid phenomena that continues to shape the present by find different ways to articulate our encounter with the past. I am drawn to the ordinary, the popular and the everyday which I approach as a source of critical, cultural and social material, artefacts and narratives for example: amateur films, private letters, family albums, domestic furniture to explore how these objects and remains can be reconfigured to make new meaning in the present tense. More recently, I have been interrogating the potential of ‘the voice’ whether speaking or singing or voice-over to represent ideas of agency, subjectivity and identity that can bring us into contact with less mainstream or forgotten people and events that in turn complicate, subvert and complement a dominant view."