Hazel Egan

Interlude

Etching, 50 x 38cm, €375

Recess

Etching, 50 x 38cm, €375

Return

Blind embossing diptych, 25 x 18cm, €250

Return I

Blind embossing, 25 x 18cm, €250

Return-II

Medium: Blind emboss diptych on Ivory Fabriano Rosaspina

Surface Breach

Medium : Graphite on paper

Rest

Medium : Etching and monoprint collage

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Biography

Hazel Egan is a Dublin based artist from Tullamore, Co. Offaly. She graduated from the Limerick School of Art and Design in 2014 with a Bachelor in Fine Art Printmaking and Contemporary Practice. She is currently a member of The Complex Studios, the Black Church Print Studios, and an associate member of the artist-led Ormond Studios. Egan has exhibited both nationally and internationally and has received support for her practice from Fingal County Council, Create Louth and PeakShow Limerick. She is the recipient of a number of residencies including the Emerging Irish Artist Residency Award at the Burren College of Art, Co. Clare (2015), Creative Spark, Co. Louth (2017) and Cill Rialaig, Co. Kerry (2021). She has also attended two Drawing Masterclass residencies with Arno Kramer at Ballinglen Arts Foundation, Co. Mayo (2015, 2019). Egan is the recipient of awards including the Selector’s Choice Award at the Drawing Awards, Limerick (2014), the F15 and AIB People’s Choice Award at the Foundation 15 Arts Festival, Co. Offaly (2015), the Book Art Selector’s Choice Award, Sligo (2017). Recent exhibitions include solo shows; Lull, Hamilton Gallery, Sligo (2018) and High Tide, Dunamaise Arts Centre, Co. Laois (2017), and group shows; Liminal Entities, Galway Arts Centre, Galway (2020), Identity, Fort Dunree, Co. Donegal (2019), and PeakShow, Limerick Museum, Limerick (2019).

Statement

I work predominantly in the mediums of drawing, printmaking, and installation. My practice attempts to translate everyday intangible ideas and encounters into solid yet delicate form. Responding to environment, material and my own personal position in the world I explore spatial and ontological concerns through a meditative, reticent economy of means. I often seek to interpret the macro through the micro by using simple, somewhat banal objects and materials to describe universal relationships between land, time and the human condition. I am interested in how things exist in space and the methodologies used to articulate what is beyond sight. Through the work I endeavour to record time and to capture the quiet tensions and harmonies that occur in nature and in the self. Existing somewhere between a science experiment and a spiritual ritual, the work hovers between coming into being and coming undone.

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