Tracy Staunton

Current Project 

 The Blue Rooms

‘The Blue Rooms’ is my current project. It is a series of projected images in domestic rooms in houses in Dublin City, photographed and presented as archival prints. The rooms are various, and represent a cross-section of domestic space in the city. They present a poetics of private space, intimacy, and ‘home’. The rooms depict domestic space as both singular and universal. In these works ‘Home’ is the same, but different, for all. It is the first place, a lifelong companion. A room contains all rooms. Home time is the time of mind, of the inner world. Familiar objects conjure a multitude of similar objects. This chair recalls ‘her’ chair. That curtain lightly fluttering conjures another evening, another place, and an old friend. The sound of dinner plates carries the intimacy of dishes done, a quiet house, time rolling over. The ‘Blue Rooms’ re-call moments, evenings, cups of tea, leavings, and happy and sad days. An exhibition of the works to date took place at City Assembly House in September 2023. The works can be viewed below. The project continues and I am looking for living spaces in which to work.

Projects 1994-2021

‘there is a relatively independent, recurrent, stable sub-totality which constitutes the explicate order, and which, of course, is basically the order that we commonly contact in common experience (extended in certain ways by our scientific instruments). This order has room in it for something like memory, in the sense that previous moments generally leave a trace (usually enfolded) that continues in later moments, though this trace may change and transform almost without limit.’

Wholeness and the Implicate order, David Bohm p/207 – Bohm, David, (1980) Wholeness and the Implicate Order Routledge and Kegan Paul, London.


In ‘Wholeness and the Implicate order’ (1980, p. 209) the physicist David Bohm presents a Universe that moves and becomes, in time, as one undivided entity. This entity refers to a higher dimensional reality. All seemingly separate elements, places, events and moments are connected in this scheme. Separation, in time as well as in space, is therefore a mirage. Time flows in one undivided and indivisible movement.; There are no discrete moments. The past is implicate within the explicate order we call reality. The past then, persists within the present, and into the future. Nothing is lost. These, and other ideas of time thread through all of my projects: ’10 Dreams in Dublin’ from 2003 mapped a trail of screen printed images on walls of a cross-section of buildings in Dublin. These were ordinary and extraordinary buildings. The images evoked their past. Some of the images were since demolished, some were painted over. An image of a piano on the wall of the Ladies toilet below O’Connell Street has been filled with cement. The image remains, another layer in the city.

Later projects developed and expanded these interests. ‘Keeper’ from 2006 continued to use this method and technique to explore the ‘House-mind’ of a house on James Street in Dublin using screen print and video. ‘Wounded Time’ from 2010 played with the idea of an architectural memory of the city perceived by the body as it moves through certain streets and spaces. I called these places ‘heterochronic’ after Foucault. The investigations were in drawing, projections and film.

‘In the room’ from 2016 on combines the traditional technique of Mezzotint with photo-etched images. They explore the trace we leave on others and vice versa. They are studies in changing and overlapping identities in space and time. Earlier, I worked exclusively in mezzotint in the project ‘House’ from 1997.

My current project ‘Another place like this’ 2020 is an essay on Time and interiority, on the time of domestic space, and the time of mind. It turns on the idea that the time of inside, of the home space, is different from that of outside. Home is the ‘where’ of the mind in the world, ‘Home’ contains all of the other places that are the same but different. By its familiarity, I distinguish strangeness, I understand intimacy, distance. Each room contains within it all rooms. The traveller carries ‘Home’ with them, projecting it on each adopted home. The space of the domestic interior stretches to contain all of this, every home, all of ‘Time’. Small because it is intimate, yet enormous as the mind. These works are projections/photo-images in interior spaces.


Tracy Staunton is an artist with background in architecture. Her primary degree is a BA Arch (Hons) from UCD, her MA ACW was received from NCAD. Her practice since 1994 has included work in printmaking, drawing, installation and film. The work has consistently engaged with architecture in some form. Interests revolve around themes of the trace of time and memory on cities, buildings. ’10 Dreams in Dublin from 2003, and ‘Wounded Time’ from 2010 both explored notions of the persistence of the past in the present. ’10 Dreams used a technique of screen-printing on walls of buildings around Dublin. ‘Wounded Time’ used drawing and video. ‘Keeper’ from 2006 posited a ‘House-mind’, a building that sees and remembers; a thinking structure. All three projects used video to imagine a past that is present while invisible. She has had solo exhibitions at the Kevin Kavanagh gallery in Dublin, and selected shows in Ireland and abroad. Most recently she have exhibited at the RHA annual exhibition in Dublin in 2020, and the RUA annual exhibition in Belfast in 2019. Her work featured in the exhibition ‘and the Women voted: Women artists from the AIB art collection at DLR lexicon, Dunlaoighaire in 2018. She has taught Art, Design and Architectural courses at Colaiste Dhulaigh, NCAD and TUD since 2002. She is a long standing member of the Black Church Print Studio in Dublin, and Chairperson of the Board there since 2020.