Dunguaire Castle (Irish: Dún Guaire) was built in 1520 by the O'Hynes clan on the southeastern shore of Galway Bay near Kinvara. The name derives from the Dun of King Guaire, the legendary king of Connacht. The castle’s 75-foot tower and its defensive wall have been restored, and the grounds are open to tourists during the summer.
Lola Dupré is known for her unique and highly intricate collages portraits. With scissors, glue and lot of patience, Lola creates spectacular and humorous compositions that often distort celebrities and icons. One year after her fist feature on Artchipel, we catch up with Artist to chat with us about her story, creative process and future projects.
Artchipel: Who is Lola Dupré? Tell us a bit about yourself. Lola Dupré: I love paper and scissors, especially 80gm paper and cheap brightly coloured scissors. Currently I am living in a nice little cottage near Galway / Ireland. I really love Ireland, it is a great place to live. Me and my partner have an old Kerry Beagle and he is super nice!, unless he is dragging a stinking old carcass back to our cottage.
A: You have lived and worked in Scotland, Switzerland, France, Portugal, Spain and Ireland. How do you think it has influenced your creativity? LD: I think it has given me a wider scope of influence, I am open to lots of ideas and I appreciate the differences between languages. Currently we are staying in Ireland, but we miss the south of Europe a little, the food and the weather. In the coming years we think we will move back to Spain or Portugal.
A: How has the collage art initially captured your attention? How did you come to develop your aesthetic? LD: When i was very young i used to play with fuzzy-felt, and I loved how you could move around the elements so easily. I guess my aesthetic comes from the fact that I used to work with papier-mache, I became more interested with the surface textures and accidental images than with the 3D shapes I was working with. I found the thicker paper of glossy fashion magazines to be perfect for papier-mache, so the papier-mache surface was always full of bizarre models and decapitated beauties.
A: Your compositions, specialized in a style that emphasized a grotesque look, often tend to distort well-known figures. What do you aim to convey through it? LD: I make my work because I love the process and the discoveries I arrive at by accident. Working with well-known figures is interesting because the viewer already usually has a strong opinion about the subject before they see my work. And this can create an interesting dialogue between the viewer and the work. I try to always leave the interpretation of the work to the viewer, I make it and you analyse it, so to speak. The boundaries of the grotesque are self imposed, I hope my work speaks for itself and my own personal interpretations are not necessary.
A: The detail of your work is tremendous. Behind each image, we imagine multiple copies of source material, thousands of cuts and tiny shards of paper. Could you share with us your creative process? LD: That is it, multiple copies of images, thousands of cuts, arranged into a new whole. I think it is important to be playful and curious, before I start anything I always play around a bit first with some possible directions. Its quite easy to work at a small and detailed scale if you use a small brush.
A: Do you have special rituals to get into creating mood? LD: Not really, I am pretty motivated, I do not find it difficult to just sit down and work. Hunger is a great motivation to look for food.
A: What is your source of inspiration? LD: It is a cliche, but i find inspiration everwhere.
A: What is your project for the coming year? LD: I am working on some new projects with CES Contemporary my gallery in Los Angeles. And I am planning another collaboration with the excellent photographer William Kano.