David DuBose’s 2012 exhibition at BRG, “Northern Ireland Prints,” represent a small selection from the many dozens of original prints the artist created during the 13-year period he lived and worked in Northern Ireland from 1992 to 2005. Northern Ireland has a long, painful legacy of sectarian violence between political groups divided along religious lines. DuBose explains, “While not directly referencing the ‘Troubles’, these images can certainly be viewed in the context of the time and place in which they were made.” Living in a country where such socio-political divisions were the norm and the threat of violence always present, the creative process served as a refuge for the artist. In retrospect, these contemplative visual narratives, intended as existentialist explorations, cannot help but also reflect a troubled and tumultuous society seeking to redefine itself.
DuBose, a BRG artist member since 2009, makes original prints, paintings and mixed media works on paper. He has had numerous artist residencies in Canada, the United States and Ireland - where he lived for thirteen years teaching printmaking at the University of Ulster in Belfast (in addition to a number of other schools, colleges and artist print workshops throughout Ireland). He was the Director of Seacourt Print Workshop in Northern Ireland for seven years before returning to the United States. He currently teaches at the University of Louisiana at Lafayette.
David DuBose’s 2012 exhibition at BRG, “Northern Ireland Prints,” represent a small selection from the many dozens of original prints the artist created during the 13-year period he lived and worked in Northern Ireland from 1992 to 2005. Northern Ireland has a long, painful legacy of sectarian violence between political groups divided along religious lines. DuBose explains, “While not directly referencing the ‘Troubles’, these images can certainly be viewed in the context of the time and place in which they were made.” Living in a country where such socio-political divisions were the norm and the threat of violence always present, the creative process served as a refuge for the artist. In retrospect, these contemplative visual narratives, intended as existentialist explorations, cannot help but also reflect a troubled and tumultuous society seeking to redefine itself.
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