Weber explores the relationships between labour, evolution and the term ‘invisibility’ within our now, 24-hour world. The word invisible relates to –concealment, economic earnings from the sales of non-tangible commodities, and is commonly associated with fantasy and science fiction. Weber is interested in the concept of ontology and recognises the underlying asynchronous relationship between our human 24-hour circadian rhythms and the rhythm of a city. Both of these are evolving and are being consistently pushed beyond ‘normal’ limitation. Using a laconic humour, Weber masks the darker realities of our new non-linear, arrhythmic patterns that have become ideal for consumption or production at any time of the day or night.
Weber examines the concept of the ‘corruptor’, a common character and canon that appears in news, film and fantasy. She relates this idea to our own everyday tasks or distractions in the home, in factories and online, marking these tasks as each individuals depravity and perpetuation of capitalism. Weber is interested in these invisible tasks that maintain capitalism and, the possible new subjects created from this labour. This collective exertion has created mutations in our patterns. This exhaustive non-stop pushing of our limitations is disrupting our individual human circadian rhythms and the city’s rhythm. This has been a consistent evolution with each new modernisation and generation. The colonisation of the night and the nocturnal community is a precedent for this progression. We are proceeding towards a zombie apocalypse, whereby our circadian rhythms are becoming de-linearised completely.
Weber’s use of speculative fiction suggests a subtle tension surrounding human’s imminent ruination. Her use of a ‘hand-made’ style opposes the proficient manufacturing processes and is in the realm of digital collaging and film. The crescendo within her narratives have no climactic point. The pieces materialise as looping, incessant moving image work and sound arrangements that have no finite beginning and end.
2017-2019 First Class Honours in MFA Digital Art, National College of Art and Design, Thomas Street, D4.
2014-2017 First Class Honours in BA in Fine Art Media and Visual Culture, National College of Art and Design, Thomas Street, D4.
2019 RHA Peer Residency Award 2019/2020
2017 Longlisted for the RDS Visual Art awards
2017 Commended in Visual Culture, NCAD
2019 MFA Graduate exhibition, The National College of Art and Design, Dublin.
2018 Stream at the Sailor's Home, Co Limerick.
2018 Rednessness, curated by Sophie Murphy. Copper House Gallery, St Kevin's Cottages, Dublin.
2018 All Other Places, East Wall Road, Point Square, Dublin.
2018 Make Even, curated by Sophia Vigne Welsh and Dara Kenny. Arklow, Co Wicklow.
2018 Wetware at the Complex, 15 Little Green St, Smithfield, Dublin 7.
2018 Taproot Art Auction and exhibition for ICCH, curated by Sophie Murphy, MART 190a Rathmines Road Lower, Dublin 6.
2017 NCAD Graduate Show, National College of Art and Design, Thomas Street, Dublin 4.
2016 Twenty Something, curated by Haley Chambers. Eblana House, Marrowbone Lane, Dublin 8.
2016 Oktopus, curated by Sean Markey, Andrews Lane Theatre, Saint Andrews Lane, Dublin 2.
2016 End of the Lane, Johns Lane, Dublin 4.
2016 Common Ground, curated by Denis Mortell. Johns Lane, Dublin 4.
2017- present: Teacher at Artzone, Rathfarnham, Dublin 14.
2018 Wilder Beasts Command, a performer for Emily Mast's: Experiments in Falling, Irish Museum of Modern Art, Dublin 8.
2018 Summer Intern at Animo TV, 32 Lombard St East, Dublin 2.
2018 Workshop leader and facilitator at NCAD Access Day, Thomas Street, D8.
2018 Visuals technician and artist; Telethon, Camden Street.
2018 Telethon, Art and music event promotor and organiser, 18 Camden Street Lower, Dublin 2.
2017 Bespoke Portfolio Course teacher and technician.
2017 Photographer for Forbidden Fruit Festival
2016 NCAD Performer at: Do you remember? Emma Haugh’s: This is Public and Sexy, Studio 468, St, Andrews Community Centre, Rialto Dublin 8. Curated by RGKSKSRG (Kate Strain and Rachael Gilbourne).
2015 NCAD Performer at: The Re-appropiation of Sensuality, Emma Haugh, closing night performance and workshops. Curated by RGKSKSRG (Kate Strain and Rachel Gilbourne). NCAD Gallery.
2015 Performer and attendee for Emma Haugh's performance workshops, National College of Art and Design, Thomas Street, Dublin 4.
2015 September – October, New York Embroidery Studio (Full time), 327 W. 36th St. 11th Floor, Manhattan, New York, NY 10018.
June 2018 District Magazine
January 2018 District Magazine
July 2017 Circa Magazine
Julie Weber, Interview by Sophie Murphy for “ESC exhibition”, Dublin City FM, May 12th 2016