ME: Could it be that the boarded-up look is part of the aesthetic? 

CF: It could be - but, no, that’s not the reason.

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ME: Is it the case that the DHS is no longer financially viable?

CF: Ha! No, it's not that! It never was ‘financially viable’!

 

ME: Is it that the staff are exhausted? 

CF: Yes. But that’s not the primary reason.

 

ME: Is it that you are starting to question the critical efficacy/function of the DHS?

CF: Yes. 

I’m very proud of what the DHS and the artists who have worked with the DHS have managed to do over the course of the past six years, against all odds. However, I feel that, to continue in its current form, would be to continue at a diminished critical capacity. 

 

ME: Why do you feel this would be the case?

CF: Firstly, it's very obvious that socially, politically, economically, environmentally, "Now is not a good time" on planet earth. Where, why and how art at this moment strike me as very pressing questions. The second reason is more specific to the design and function of the DHS itself. When I started out with the DHS I was working in pretty barren terrain - there were very few spaces offering a dual reality, virtual/physical experimental artspace which questioned our understanding of both the nature of the studio and the nature of exhibition practices. Then Covid happened and the Art World and Art Academies woke up to the potential of hybrid working and learning and…well…a tiny organisation such as the DHS gets edged out when the big engines come in with the money and the might. The space it humbly occupied became saturated with ‘opportunity’. That lone Dollhouse in the desert is now dwarfed by high-rise apartments, universities and galleries with expensive interfaces. Not to mention the fact that Artificial Intelligences are accelerating the rate of change in this field for better or for worse. I'd be a fool to ignore this. 

So I need to look at things again - I need to look anew at this altered landscape. I need to figure out what I need to change, what I need to do in order to continue to support critical experimentation and inquiry in these troubled times.

 

ME: Is that it then? Curtains for the DHS?

CF: I said NOW is not a good time. I remain hopeful for tomorrow.

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ME: How do you feel?

CF: Well, you know, tired. Hopeful. 

 

ME: Can folk still get in touch with you about the DHS?

CF: Of course! In fact, the entire history of the activity within the DHS online rooms remains intact and fully accessible on this site. Check out the menu at the top of the page.

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Sincere thanks to all the artists and everyone who participated in and supported the Dollhouse Space since its inception in 2018:

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Peter Richards 

Susan MacWilliam 

Kristin Lucas

Michael Wilson

Margaret Honing

Justine O'Donnell

Common Folk

Áine Nic Giolla Coda

Michael Minnis

Christa Forster

Mark Orange

Síobhan Tattan 

Harald den Breejen

Laura Little

Big Band

Anarchivist

Declan Sheehan

Éanna MacCana

Chloe Austin

Kitsch Doom

Nollaig Molloy

Gesine Beermann-Kielhöfer

Hilde de Bruijn

Andrew Demetrius

Eamon O'Kane

Mani Mazinani

David Haughey

Laura Little

Art Arcadia

Paola Bernardelli

David Jacques

Anne-Marie McKee

Christa Maria Lerm-Hayes

Arno & team at Boekhandel Blokker

Lucy Cotter

Sean Finnegan

Theo

Joshil

Conor

Mayila

Elina

 

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