The Hyde Bridge Gallery is administered by The Yeats Society,
The gallery aims to encourage all artistic endeavours within the local, national and international community while maintaining a focus on community. It provides space for the exhibition of contemporary art, and facilitates a forum for artists within a historic space.
Also worth visiting here are the Yeats Photographic Exhibition and the library which provides reading and learning space for students who wish to consult its unique collection of books, and to listen to and view the DVD collection of lectures given at Yeats Summer Schools over more than 55 years.
Sharing its name with W.B. Yeats’ poem, The Fool by the Roadside is a compilation of works featuring drawings from the innards of an Israeli Army tank to a video dissecting the landscapes and harsh realities of two Palestinian communities in the West Bank. In addition, the exhibition will be supported by a number of installation works, photography and line drawings investigating Irelands relationship with “The Holyland”. Born in Castlebar, Bryan Gerard Duffy’s work has been heavily associated within National and International Human Rights and Refugee struggles. He graduated from NCAD, Dublin (2009) having changed his name (via Deedpoll) to that of an asylum seeker residing in Direct Provision, where it was published in the belated Circa Ireland’s magazine. He has worked in collaboration with International Spanish Art Group Artifariti in both “The Free Zone”, Western Sahara and the Tindouf Refugee Camps in Algeria. He has coordinated workshops, documentaries and performances in countries such as England, Serbia, Kenya, Belarus and the West Bank. Whilst at home in Ireland, Duffy has presented his work extensively, including the Galway Mayo Institute of Technology, and the Ballina Arts Centre. The Fool by the Roadside sets out the existence of an Israeli Tank left vacant on the roadside in the Golan Heights region, North Israel. On the14th June 2014, unbeknownst to the rest of the world, Israel were preparing for / mapping the invasion of the Gaza Strip, where they were gathering their troops from the Syria border to a nearby field. Having performed the action of invading the isolated tank, which was displaced from the pack, Duffy then recorded and surveyed its insides. He departed for the West Bank. Within a week, the bombings had begun on Gaza. The line drawings are a representation of the political / geographical landscape of the region, juxtaposing a city under siege from the skies. Upon observation, the drawings are a battle of light and dark, and hence the lines emerge. Was this outcast tank too old to partake in the invasion of Gaza? The demolition of homes is also apparent in the featured video, “Knock, Knock”, where two communities in the West Bank resist Israeli policies and contend with heir impending homelessness. In stark contrast to Ireland’s building boom, Duffy poses the questions “Where have we [Irish] come from?” and “Who is truly the fool by the roadside?”
THE FOOL BY THE ROADSIDE
WHEN all works that have
From cradle run to grave
From grave to cradle run instead;
When thoughts that a fool
Has wound upon a spool
Are but loose thread, are but loose thread;
When cradle and spool are past
And I mere shade at last
Coagulate of stuff
Transparent like the wind,
I think that I may find A faithful love, a faithful love.
More images are available upon request:
Bryan Gerard Duffy,
(+353) 87 2640765