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	<title>Elinor O'Donovan</title>
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	<pubDate>Sun, 30 Mar 2025 10:33:14 +0000</pubDate>
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		<title>Home</title>
				
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		<pubDate>Fri, 04 Mar 2022 17:05:30 +0000</pubDate>

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		<title>Collage</title>
				
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		<pubDate>Thu, 22 Sep 2022 18:16:54 +0000</pubDate>

		<dc:creator>Elinor O'Donovan</dc:creator>

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		<title>Convivo</title>
				
		<link>https://elinorodonovan.com/Convivo</link>

		<pubDate>Sun, 30 Mar 2025 10:33:14 +0000</pubDate>

		<dc:creator>Elinor O'Donovan</dc:creator>

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	Convivo
	2025
	4k video, colour, sound, 10’ 29’’

	
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/7bcbb3fe40a09d9271e2369c98f6a3b48758444d40ebffba324e71bb50b7b1c0/Timeline-1_01_08_25_08.jpg" data-mid="228979511" border="0"  src="https://freight.cargo.site/w/1000/i/7bcbb3fe40a09d9271e2369c98f6a3b48758444d40ebffba324e71bb50b7b1c0/Timeline-1_01_08_25_08.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/7797ccf6b922388b041d9a8f97da244f8a3d271e55ab4547790eded12dc0cd9a/Timeline-1_01_09_57_11.jpg" data-mid="228979510" border="0"  src="https://freight.cargo.site/w/1000/i/7797ccf6b922388b041d9a8f97da244f8a3d271e55ab4547790eded12dc0cd9a/Timeline-1_01_09_57_11.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/137908fa157f81e7d7642bddbe8406e2233bea73d3b116d836346e8ff5891133/Timeline-1_01_05_47_10.jpg" data-mid="228979508" border="0"  src="https://freight.cargo.site/w/1000/i/137908fa157f81e7d7642bddbe8406e2233bea73d3b116d836346e8ff5891133/Timeline-1_01_05_47_10.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/e954d2e94ebce9acfac58b758433e7097f1995366b8de2bae96b413e0b8196ef/Timeline-1_01_07_49_20.jpg" data-mid="228979509" border="0"  src="https://freight.cargo.site/w/1000/i/e954d2e94ebce9acfac58b758433e7097f1995366b8de2bae96b413e0b8196ef/Timeline-1_01_07_49_20.jpg" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/48f74243c53cfa0f4dc5a99246989172f7c3bc7836b52210ee23d1eece81e883/Timeline-1_01_02_54_24.jpg" data-mid="228979512" border="0"  src="https://freight.cargo.site/w/1000/i/48f74243c53cfa0f4dc5a99246989172f7c3bc7836b52210ee23d1eece81e883/Timeline-1_01_02_54_24.jpg" /&#62;

	A film about the rhythms of living together; with other people and with the more-than-human world.&#38;nbsp; Filmed at an artist residency 600km north of Helsinki, it explores the quiet closeness of shared space, and the subtle presence of the forest. The film reflects on conviviality as a way of being, where coexistence is an ongoing, shifting practice rather than a fixed state.


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		<title>Requiem for Barbapapa</title>
				
		<link>https://elinorodonovan.com/Requiem-for-Barbapapa</link>

		<pubDate>Fri, 14 Mar 2025 18:14:15 +0000</pubDate>

		<dc:creator>Elinor O'Donovan</dc:creator>

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	Requiem for Barbapapa
	2025
	4k video, colour, sound, 06' 55". 



	
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&#60;img width="1754" height="2480" width_o="1754" height_o="2480" data-src="https://freight.cargo.site/t/original/i/c3e1e67c95f9b6e6fb525d474746f562cb36760c3d133a24458d1d94511ee298/A3-BARBAPAPA-POSTER.png" data-mid="228257073" border="0"  src="https://freight.cargo.site/w/1000/i/c3e1e67c95f9b6e6fb525d474746f562cb36760c3d133a24458d1d94511ee298/A3-BARBAPAPA-POSTER.png" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/6acb7c10c58143ef1697fe45765f2fc2a4b44ca4dc13adeeb4a20c1f66624759/Draft-Timeline_01_02_41_15.jpg" data-mid="228561144" border="0"  src="https://freight.cargo.site/w/1000/i/6acb7c10c58143ef1697fe45765f2fc2a4b44ca4dc13adeeb4a20c1f66624759/Draft-Timeline_01_02_41_15.jpg" /&#62;
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&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/543ad410ef0ae7acd086f3f9e2c88fca4de18a8bab3e040e9991f95b3421bce0/Draft-Timeline_01_05_36_13.jpg" data-mid="228561147" border="0"  src="https://freight.cargo.site/w/1000/i/543ad410ef0ae7acd086f3f9e2c88fca4de18a8bab3e040e9991f95b3421bce0/Draft-Timeline_01_05_36_13.jpg" /&#62;

	 Filmed on location in Ancient Olympia and the Palace of Nestor, Greece.
A childhood memory of Barbapapa, a pink shapeshifting cartoon character, unravels into a meditation on language, memory, and the materiality of history. From Roman inscriptions to Ancient Greek paintings, the film traces how stories endure or dissolve over time.&#38;nbsp;
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		<title>Metametamorphosis</title>
				
		<link>https://elinorodonovan.com/Metametamorphosis</link>

		<pubDate>Fri, 21 Mar 2025 09:16:52 +0000</pubDate>

		<dc:creator>Elinor O'Donovan</dc:creator>

		<guid isPermaLink="true">https://elinorodonovan.com/Metametamorphosis</guid>

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	Metametamorphosis
	2025
	HD video, colour, sound, 5’ 34’’

	
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&#60;img width="1866" height="1029" width_o="1866" height_o="1029" data-src="https://freight.cargo.site/t/original/i/60106943b58e028009acb4d749c6e63d0d9cf526f240ae50f295fc06c0c8258f/NY2.png" data-mid="228582587" border="0"  src="https://freight.cargo.site/w/1000/i/60106943b58e028009acb4d749c6e63d0d9cf526f240ae50f295fc06c0c8258f/NY2.png" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/cd1ba5e0f812536b1824622821d787b0b800f4182b61a69118cd32c7f3350df0/Image3.jpg" data-mid="228582568" border="0"  src="https://freight.cargo.site/w/1000/i/cd1ba5e0f812536b1824622821d787b0b800f4182b61a69118cd32c7f3350df0/Image3.jpg" /&#62;

	In Kafka’s ‘Metamorphosis’, Gregor Samsa awakes after a night of uneasy dreams to discover that he’s turned into a gigantic beetle.
 
In ‘Metametamorphosis’, Gregor Samsa awakes after a night of uneasy dreams to discover that he’s turned into The Beatles. All of them. At the same time.
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	<item>
		<title>Winter Sun</title>
				
		<link>https://elinorodonovan.com/Winter-Sun</link>

		<pubDate>Fri, 21 Mar 2025 09:20:01 +0000</pubDate>

		<dc:creator>Elinor O'Donovan</dc:creator>

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	Winter Sun
	Triskel Christchurch, Cork, IE
	2024

	&#60;img width="2624" height="3280" width_o="2624" height_o="3280" data-src="https://freight.cargo.site/t/original/i/273db1f57aa0a12e0939549425b76eef3294114d1c9790ce38781750fc0b90e3/1-edit.jpg" data-mid="247273577" border="0"  src="https://freight.cargo.site/w/1000/i/273db1f57aa0a12e0939549425b76eef3294114d1c9790ce38781750fc0b90e3/1-edit.jpg" /&#62;&#60;img width="3936" height="2624" width_o="3936" height_o="2624" data-src="https://freight.cargo.site/t/original/i/84b6dcad065539e96a4bd38198c2ea7cdece9f15cb596445336fdfeac6c45d6e/2-edit.jpg" data-mid="247273576" border="0"  src="https://freight.cargo.site/w/1000/i/84b6dcad065539e96a4bd38198c2ea7cdece9f15cb596445336fdfeac6c45d6e/2-edit.jpg" /&#62;

	Projection-mapped video, 10’, color.Commissioned by the National Sculpture Factory and Cork City Council.

The work is a a 10-minute long moving image, a preserved piece of a warm Cork summer, saved for the winter months when it is most needed.

Taking as its inspiration the iconic view from the top of Patrick’s Hill at Bells Field in Cork City, the video work is a looping film depicting Corkonians sharing a moment of togetherness, connected by their mutual 
appreciation for a setting summer sun.



</description>
		
	</item>
		
		
	<item>
		<title>Wiff Waff is Playing at My Gaff</title>
				
		<link>https://elinorodonovan.com/Wiff-Waff-is-Playing-at-My-Gaff</link>

		<pubDate>Mon, 01 Jul 2024 09:06:24 +0000</pubDate>

		<dc:creator>Elinor O'Donovan</dc:creator>

		<guid isPermaLink="true">https://elinorodonovan.com/Wiff-Waff-is-Playing-at-My-Gaff</guid>

		<description>
	Wiff Waff is Playing at My Gaff
	Crawford Art Gallery, IE &#38;nbsp;&#38;nbsp;
	2024


	

	
&#60;img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/72815d67069d6682bfdde61708f3e103f517de660025d1faecbe8a0630b9282f/GtS-Balls.jpg" data-mid="213895488" border="0" data-scale="80" src="https://freight.cargo.site/w/1000/i/72815d67069d6682bfdde61708f3e103f517de660025d1faecbe8a0630b9282f/GtS-Balls.jpg" /&#62;
&#60;img width="5451" height="3062" width_o="5451" height_o="3062" data-src="https://freight.cargo.site/t/original/i/3344fe630042760c13bc4c5faf8df115650cf512ecbc7b9924ccd09376023dea/Got-the-Snip.jpg" data-mid="213895487" border="0"  src="https://freight.cargo.site/w/1000/i/3344fe630042760c13bc4c5faf8df115650cf512ecbc7b9924ccd09376023dea/Got-the-Snip.jpg" /&#62;

	Curated by Davey Moor, ‘Wiff Waff is Playing at My Gaff’ is an exhibition of artist-made “krazy” ping-pong tables.&#38;nbsp;‘Got the Snip’, 2024, MDF, acrylic, powder-coated steel, net, paddles, ping-pong balls. 240 x 120 x 75cm.


</description>
		
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	<item>
		<title>The Immeasurable Grief of the Prawn</title>
				
		<link>https://elinorodonovan.com/The-Immeasurable-Grief-of-the-Prawn-1</link>

		<pubDate>Wed, 12 Jul 2023 19:54:45 +0000</pubDate>

		<dc:creator>Elinor O'Donovan</dc:creator>

		<guid isPermaLink="true">https://elinorodonovan.com/The-Immeasurable-Grief-of-the-Prawn-1</guid>

		<description>
	The Immeasurable Grief of the Prawn &#38;nbsp;&#38;nbsp;
	GeneratorProjects, Dundee, UK&#38;nbsp; &#38;nbsp; 
	2023


	
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Photos: Nicola Rubczak, Pete McConville, Elinor O’Donovan.
	‘The Immeasurable Grief of the Prawn’ is an exhibition based around a film of the same title, and a collection of works exploring the notion of approximate knowledge, or bad knowledge: the kind that is dodgy, and poorly-retained. It’s the kind which is lodged at the back of your brain for years, jogged only by something someone says and you go “oh yeah I think I heard that before”. 

It began in May last year, when I made dinner for my housemate Charlotte and myself. It was a prawn curry, as I had forgotten that Charlotte is a vegetarian. She was nice about it. “I eat prawns sometimes”, she said, and we got on with our meal. 

Charlotte isn’t the first vegetarian I’ve met who eats prawns sometimes; something about them not being “as bad” to eat as other creatures. I’ve heard it said that they don’t have brains, or nervous systems, or whatever it is that animals have that make them feel pain, therefore whatever offence might be committed by killing and eating something that would know about it would be committed, but to a more palatable degree.

A few days later, I was invited by Generator to work on a solo exhibition for July 2023 and I thought of the prawns. I began to question: what if the prawns don’t have brains or nervous systems but they’re intelligent in ways that people aren’t able to imagine? What if the prawns are a hive-mind, one omniscient being? How would such an all-knowing prawn entity feel every time a prawn is eaten by a vegetarian who says it’s not so bad to eat them?

 I feel it’s important to mention here that I haven’t fact-checked anything. I never looked up to see whether or not prawns have brains or nervous systems*, I started working with the knowledge (or lack thereof) that I had. The super-intelligent prawn that I began to imagine is still just as plausible a reality to me as the prawn that’s kind-of more-okay to eat because it can’t feel pain. 
The film, ‘The Immeasurable Grief of the Prawn’ is, appropriately, the first film I have ever made and is therefore an approximation of what I know a film should be like based on other films I’ve seen. It explores the various ways that knowledge is formed, through conversation with others (from elegant dinner tables to the pub corners where “shite talk” proliferates), through consuming various media, or from experience. It considers the decay of such knowledge, through poor memory, or where knowledge is skewed by jokes.
The accompanying exhibition at Generator is a bad museum of approximate knowledge. Its artefacts include drawings, digital collages, found objects, paintings and post-it notes drawn by friends in pubs. Each is presented without context or explanation, a tribute to the plausibility of a super-intelligent prawn who gets it, even if we don’t.

*At this stage, I do not want to know whether or not prawns have brains and nervous systems. Do NOT tell me. I’m serious.


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	<item>
		<title>Awaken, Sleeping Heart</title>
				
		<link>https://elinorodonovan.com/Awaken-Sleeping-Heart</link>

		<pubDate>Tue, 13 Feb 2024 14:13:21 +0000</pubDate>

		<dc:creator>Elinor O'Donovan</dc:creator>

		<guid isPermaLink="true">https://elinorodonovan.com/Awaken-Sleeping-Heart</guid>

		<description>
	Awaken, Sleeping Heart &#38;nbsp;&#38;nbsp;
	El Sur, Mexico City &#38;nbsp;&#38;nbsp;
	2023


	
	

	

	
&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/d54dfa8badd96625bd09c3a073f87989a1a32276fd79d3a3c5e692f4879ea2cf/02-edit2.jpg" data-mid="209800845" border="0"  src="https://freight.cargo.site/w/1000/i/d54dfa8badd96625bd09c3a073f87989a1a32276fd79d3a3c5e692f4879ea2cf/02-edit2.jpg" /&#62;
&#60;img width="4720" height="3127" width_o="4720" height_o="3127" data-src="https://freight.cargo.site/t/original/i/888bad5a3ed21ef58a3a505ada8c5cd178c6335865b1f15e3e7f6057a9abdab9/IMG_4208-2.jpg" data-mid="209800676" border="0"  src="https://freight.cargo.site/w/1000/i/888bad5a3ed21ef58a3a505ada8c5cd178c6335865b1f15e3e7f6057a9abdab9/IMG_4208-2.jpg" /&#62;
&#60;img width="3878" height="3878" width_o="3878" height_o="3878" data-src="https://freight.cargo.site/t/original/i/db7beeb56600d1865eca7ab7bf16756ffdae44340780581b15ebbd8b45638a31/12-edit.jpg" data-mid="209800872" border="0"  src="https://freight.cargo.site/w/1000/i/db7beeb56600d1865eca7ab7bf16756ffdae44340780581b15ebbd8b45638a31/12-edit.jpg" /&#62;
&#60;img width="4177" height="4177" width_o="4177" height_o="4177" data-src="https://freight.cargo.site/t/original/i/eab2eb0132d5047645b77ab47d2ec79b89e130f17d42f09ffec08671f7252ebe/14-edit.jpg" data-mid="209800849" border="0"  src="https://freight.cargo.site/w/1000/i/eab2eb0132d5047645b77ab47d2ec79b89e130f17d42f09ffec08671f7252ebe/14-edit.jpg" /&#62;

	“I lay on the bed with the window open to the summer night – I was as rapturously lonesome as you can be only in your mid-twenties – and I listened to the song and I was so moved I tried to communicate messages by means of telepathy to a girl who was at that moment sleeping across the city.”

Kevin Barry, from ‘The Raingod’s Green, Dark as Passion’.



‘Awaken, Sleeping Heart’ depicts the feeling of ‘blue hour’, the period of time after the sun sets, and before night falls, when the sky takes on a deep, dark blue color. This is a period of liminality, between night and day: it offers neither the bright, exposed, honesty of the day, nor fully the dark, cloaked, interiority of the night. It is a time when we return to our homes after a day’s work, and to ourselves after being with other people. 
This in-between time mirrors the tension between being an individual and being a part of a network of relationships, and on a personal level the dialectical experience of interiority and exteriority: who I am to myself, and who I am to other people. It reflects the duality of craving solitude while simultaneously fearing loneliness.

Often in the beginning of a romantic relationship, many of us do the very terrible thing where, when we don’t know very much about the other person, we use our imaginations to fill in the gaps and project a fantasy person onto the real person who is the object of our desires. They become kinder, more interesting, more interested in us. The intensity of our feelings allows us to suspend our disbelief that this other person is actually perfectly ordinary. In ‘Awaken, Sleeping Heart’, I ask you to fall in love with paper, lightbulbs, and wooden boards. If you suspend your disbelief, these perfectly ordinary objects become romantic icons: paper and confetti become a night sky, a lightbulb is the moon, toy cars evoke night-time lovers.


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	<item>
		<title>Gods in the Machines</title>
				
		<link>https://elinorodonovan.com/Gods-in-the-Machines</link>

		<pubDate>Wed, 14 Jun 2023 17:31:51 +0000</pubDate>

		<dc:creator>Elinor O'Donovan</dc:creator>

		<guid isPermaLink="true">https://elinorodonovan.com/Gods-in-the-Machines</guid>

		<description>
	Gods in the Machines
	Online
	2023


	&#60;img width="1920" height="1012" width_o="1920" height_o="1012" data-src="https://freight.cargo.site/t/original/i/2389a3e9c51e5f8cefc27612d8d35a4172ceff36445d01bc16e245e07197bc38/Screenshot-2023-06-14-at-18.33.49-2.png" data-mid="182070034" border="0"  src="https://freight.cargo.site/w/1000/i/2389a3e9c51e5f8cefc27612d8d35a4172ceff36445d01bc16e245e07197bc38/Screenshot-2023-06-14-at-18.33.49-2.png" /&#62;
	Gods in the Machines
by Aisling Phelan and Elinor O’Donovan
Part of Screen Service’s ‘Collision Project’.
Gods in the Machines is a non-linear narrative-based web piece. Taking as its starting point the decision by screen service to pair the two artists as collaborators, Gods in the Machines explores conversation as a creative act. Inherent in online long-distance collaborations, each artist is, to the other, a god in the machine: each housed in a computer screen, their likenesses and voices captured in pixels and radio frequencies and physically channelled through thin glass wires, connecting the two in their workplaces.
 Gods in the Machines finds the duo locating common ground through conversation, then as gods, terra-forming this ground, endowing it with many things; trees and birds, planets and people, liquid crystal displays and fantasy role-playing games. Each text exchanged is a crystal lattice, a neuron, a breezeblock, that is over time assembled to form a world of fiction.

The inhabitants of this fictional world, much like its gods, experience logistical setbacks in communicating: Wi-Fi cuts out, calls drop, a voice is too distant to be heard. Despite these obstacles they persist in their efforts to communicate, determined to be heard and known.

“Can you hear me now?”

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