Sinéad O’Neill-Nicholl has a research based practice and works predominantly with sound and light to create installation and performance art. With a focus on manipulating sound recordings using mixing skills and audio editing software techniques, Sinéad examines language in the context of justice and investigates the connection between communication channels and identity bias.
Intrigued by the relational medium of sound with its direct and often subconscious physical impact, Sinéad employs subversive techniques to create womb-like environments and meditative experiences, spaces where the disembodied voice provide a platform for the disenfranchised body. Interested in the ownership and construction of language and hegemonic structures from an intersectional feminist perspective, Sinéad seeks methods to disrupt mainstream narrative and disseminate academic theory. Critiquing popular culture, social and mainstream media from the perspective of academic theorists such as bell hooks, Audre Lorde, Angela Y. Davis, Luce Irigarary and Donna Harraway, Sinéad highlights themes of bias and privilege within class structures and governmentality and examines topics of gender based violence, sexuality and grief. More recently, Sinéad has sought to employ love and joy within her work and to provide space for empathetic contemplation and rest.
The overriding question that informs Sinéad’s practice is Who DO we hear from and why? with the resulting creative outcomes, an attempt to provide redress for those that are unheard.
Intrigued by the relational medium of sound with its direct and often subconscious physical impact, Sinéad employs subversive techniques to create womb-like environments and meditative experiences, spaces where the disembodied voice provide a platform for the disenfranchised body. Interested in the ownership and construction of language and hegemonic structures from an intersectional feminist perspective, Sinéad seeks methods to disrupt mainstream narrative and disseminate academic theory. Critiquing popular culture, social and mainstream media from the perspective of academic theorists such as bell hooks, Audre Lorde, Angela Y. Davis, Luce Irigarary and Donna Harraway, Sinéad highlights themes of bias and privilege within class structures and governmentality and examines topics of gender based violence, sexuality and grief. More recently, Sinéad has sought to employ love and joy within her work and to provide space for empathetic contemplation and rest.
The overriding question that informs Sinéad’s practice is Who DO we hear from and why? with the resulting creative outcomes, an attempt to provide redress for those that are unheard.