A Site of Change: The Masterplan

Essay on the community based art project The Master Plan curated by Jennie Guy with artists Ella de Burca and John Beattie

Finding Time: How it is Made Visual Artists Newsletter

FINDING TIME Brian Fay outlines the processes and concepts underpinning his practic

Milestones / Miles’s Tones: a Coincidence

Milestones/Miles’s Tones: a Coincidence is a catalogue essay published in the 25th. anniversary catalogue for Black Church Print Studio’s, Dublin

And Or Not – the system, the body and time

This catalogue text discusses artists and artworks featured in the exhibition BOOLEAN EXPRESSIONS: Contemporary Art and Mathematical Data, presented at The Lewis Glucksman Gallery, University College Cork, Ireland, 23 July – 8 November 2015. For an overview of the exhibition see the link https://vimeo.com/13762085

Catalogue Essay for Kiera O\u27Toole Solo Exhibtion

A catalogue essay discussing elements of O\u27Toole\u27s practice as it responds to recent contemporary drawing practices and the specifics of the history and architecture of the Wicklw site

What is Drawing - A Continuous Incompleteness

This booklet was published as part of the What is_? series published by the Irish Museum of Modern Art. The series is intended to provide a broad overview of some of the central themes and directions in modern and contemporary art and also to provide information about the materials and methodologies employed by artists in the creation of their work

KIERA O\u27TOOLE - A FRAGILE INTENSITY

This catalogue essay discusses the Irish artist Kiera O\u27Toole\u27s practice in relation to serial drawing practices of the 1960\u27s and Alain Badiou\u27s observations on drawing

Brian Fay contribution to the Lismore Castle Arts Public Discussion- Painting As A Dream, Friday 25th of April, 2014

Brian Fay contribution to the Lismore Castle Arts, Waterford, Public Discussion- Painting As A Dream, Friday 25th of April, 201

Temporalities and the Drawn Response to the Conservation and Restoration of Paintings

This paper will consider the temporal implications for drawing in the light of conservation and restoration treatments to paintings by the Seventeenth Century Dutch painter Johannes Vermeer. Using three critical frameworks: Norman Bryson’s becoming model for drawing and the relationship of liminality to a painting during conservation/restoration, George Didi Huberman’s anti-chronological reading of the detail and the pan in painting, and Walter Benjamin’s definitions of drawing the paper will seek to address some implications for a drawing practice that responds to a pre-existing museum artworks. The paper will present some findings from my own drawing practice that responds to Vermeer’s The Love Letter (c. 1667-1670) and The Girl with the Red Hat (c.1665-67). It will make particular reference to the non-chronological sequencing and staging of the drawings as they consider the stages of conservation and restoration treatments of paintings