Selected Recent Work
Bog Spell 2025
A Collection of Things Nearly Forgotten 2025
Emerging Narratives 2024 with soundcloud link
This Is How I Pray 2024
In Toto 2024
How's She Cuttin'? 2023
2025
Bog Spell II |”Bloodroot”|Hamilton Gallery & Embassy of Ireland, The Hague, The Netherlands, Pulchri Studio, the Hague, Netherlands.
Bog Spell I & II | "Right Here Right Now" Annual Open Call 2025 | Rua Red, South Dublin Arts Centre, Ireland.
Iron rich ash from burnt peat turf, human breath as photographs.
30cm x 30cm
2025
Bog Spell I & II are in response to Bog Medicine by Annemarie Ní Churreáin as a response to the Open Call “Bloodroot” from Hamilton Gallery Sligo and The Embassy of Ireland, The Netherlands.
Female artists were invited to respond to selected poems by Annemarie Ní Churreáin from her first book, Bloodroot, published by Doire Press 2017. One of my favourite living poets, and luckily my favourite poem from this collection was on the list.
Bog Spell II was exhibited in Sligo and the Hague.
Bog Spell I & II are currently being exhibited in Rua Red, Dublin Right Here Right Now Annual Open Call 2025.
A Collection of Things Nearly Forgotten - an archive of memories from County Tipperary, 2025
This is a social engagement project, compiled by Thurles Men's Shed, Presentation Convent Clonmel, Borrisokane Men's Shed, Fethard ICA Guild and Tipperary artist Annie Hogg.
Together, we have compiled and created a snapshot of a whole host of techniques, expressions and customs, which were familiar not so long ago in the daily lives of people living here in Tipperary.
We turned this collection into a booklet and four accompanying audio blogs. Project booklet contains QR Codes, allowing access to all four audios. Booklets held in all county libraries.
The inspiration for this projects has come from the acknowledgement that in all our families and communities, there exist expressions, traditions, stories which we are familiar with. I wanted to gather some of these memories and create an archive. The space between my generation, and the generations of the collaborating groups is not that far. However, the daily workings of normal life which they recall from childhood and young adulthood, paints a picture of a very different world. This project shines a light on these ways and aims to consider our past and future as a larger community.
Emerging Narratives | STAC Chapel 2024
Historical and current photographs, marker on geotextile and fabric, oars and boat floor, boat building paraphernalia, sound piece with interactive elements. Process Zine and postcard collection.
Variable dimensions. 2024
Over six months, I received mentorship from Deirdre O’Mahony, Kate O’Shea, Evelyn Broderick & Enya Moore. I spent the final two of those months, working with The Workmen’s Boat Club in Clonmel. We explored the River Suir from the perspective of the members, most of whom have spent their entire lives on the river.
Sound piece which was on constant loop throughout exhibition. When spectators scan and play the QR code audios interspersed throughout the map, an audio overlapping is produced, echoing the visual of the map itself, which exhibits layers of past and present route of the river, along with now unused and/or changed names of marks along the riverbank.
These stories were also woven into the sound piece with the interactive pieces being accessible via scanning QR Codes, available on main Soundcloud page https://soundcloud.com/annie-hogg-775209577
We mapped out the stretch of river that the club uses and gathered place names and stories, along with a host of flora and fauna throughout the last 70 years along the river.
Further sculptural elements were supplied by the use of boat and boat building paraphernalia supplied by the Club for the duration of exhibition.
A project zine was made with assistance from mentor Kate O’Shea, documenting the development of the projects included in this mentorship project.
In Toto | Zeitgeist Irland 24, “Meant To Fade” Saarbruken, Germany. WITHDRAWN
K-Fest 2024 & An Chead Tine, “Lines of The Land"
Kilkenny. 2024
Charred peat, Iranian red ochre, Kilkenny limestone, dripping water at a rate of 30 drips per minute.
2m x 65cm
2024
Water drips in a concealed circulatory system and drips continuously over Kilkenny limestone covered in Iranian red ochre, until eventually, water erodes away the ochre to reveal stone beneath. Structure is cloaked in creased paper, coated with charred peat, peat brought to its carbon self.
The execution of this piece was poor, however, the method of controlling the water drip was a success as was the action of erosion.
iranian red ochre (500 million years old) is washed from
kilkenny limestone (340 million years old) by
water (4.5 billion years old) enclosed by
raised bed peat (forming for the last 10 thousand years)
iranian red ochre – human, homo from humus meaning living soil
kilkenny limestone – formed while this landmass sits on equator under warm tropical sea
water – formed in space as tiny dust particles, human bodies are more than half water
raised bed peat – significant part of vegetation landscape, forming from end of last ice age
iranian red ochre – take in / soul song / ingest to heal
kilkenny limestone – foundations / layer lines / memory holder
water – everywhere all at once
raised bed peat – holder of storylines
copper pipes (circulation, drip)
water pump (circulation, electricity)
wood and paper (structure)
How's She Cuttin'? | Clonmel Junction Festival, 2023
Charred Peat, clear & blue Perspex.
30cm x 10cm x 10cm
Atlantic bog peat, transformed through the process of charring in three parts. Each part positioned on Perspex slices, varying height. Blue is used to signify the presence of vivianite – blue ochre. There is an expression when digging a bog- “dig until you hit the blue soil”, signifying the reaching of the bottom, the region just above the iron pan.
This piece is a tongue in cheek considering the conversation around access to, and cutting of peat. From the scarred midlands to winter fuel, peat extraction is a multi-layered and sometimes raucous topic.
The finding of vivianite is a rare and special occurrence. It has been used across the globe and throughout history by the healers and holy people. I believe it to be a gift only granted to those chosen by the soil to receive it. I strive to be chosen.
The fresh turf has been charred, essentially forcing the material to form in a re-crystallised carbon state, where “a graphite-like structure that causes an increased absorption of electromagnetic radiation, and hence the material appears black”. Ref. Jenny Boulboullé & Sven Dupré, Burgundian Black