Boundless Seams explores the work of New York–based designer and embroidery specialist Laura Weber, the artist’s sister, and the first independent designer to create uniforms for Ireland’s Olympians, presented at the 2024 Paris Games. The film is situated alongside the centenary of Ireland’s first appearance as a Free State at the Olympic Games in Paris in 1924.
Beyond the historic context, the film observes the daily rhythms and relationships that sustain a life’s work across different careers. It traces the intersection of seemingly distinct fields of embroidery and sport, united by movement, dedication, and care. Through expressive filmmaking and sonic composition, Boundless Seams brings these worlds into dialogue.
This film is supported by the Arts Council of Ireland, Centre Culturel Irlandais, Tipperary Museum of Hidden History, the Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media, and Ebow Digital.
Beyond the historic context, the film observes the daily rhythms and relationships that sustain a life’s work across different careers. It traces the intersection of seemingly distinct fields of embroidery and sport, united by movement, dedication, and care. Through expressive filmmaking and sonic composition, Boundless Seams brings these worlds into dialogue.
This film is supported by the Arts Council of Ireland, Centre Culturel Irlandais, Tipperary Museum of Hidden History, the Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media, and Ebow Digital.
Presented at Lifeworld in New York, this performance unfolds as a looping encounter in which time slips between beginning and end. Two performers move through shifting roles, tracing intimacy through repetition and humour.
Blending choreography, dialogue, and sound, the work develops through short, mundane exchanges in which everyday objects like tables, tulips, food, and keys act as markers of memory and tension.
Blending choreography, dialogue, and sound, the work develops through short, mundane exchanges in which everyday objects like tables, tulips, food, and keys act as markers of memory and tension.
An Artist Calls explores the unseen labour of artists, art workers, and the broader creative community, highlighting the intricate seams that sustain the art world.
Julie Weber and RHA Kids, as a collective, explore rhythms, murmurations and the disruption of daily routine. Through drawing and text, and later through performances, the project constructed non-linear narratives in response to Cecilia Bullo’s exhibition, Being Haunted By the Breezes, Now How Will You Exist?, shown at the RHA in early 2023. The title Hek Hek Hoo came from one of the students’ particular responses to Bullo’s exhibition.
The Supremacy of Mathematical Dreaming (2023) is a short film commissioned by IMMA as part of IMMA Nights 2022–2023. The work takes its departure from Night Shift (2022), a live outdoor piece by Liliane Puthod, and draws on their shared interest in circadian rhythms and altered nocturnal perception.
Set within the museum grounds, the film follows a surreal, non-linear journey shaped by darkness, fatigue, and disorientation. Drawing on Puthod’s research into the uncanny experience of a night guard, Weber constructs a familiar yet unstable landscape through abrupt transitions and dream-like imagery.
Set within the museum grounds, the film follows a surreal, non-linear journey shaped by darkness, fatigue, and disorientation. Drawing on Puthod’s research into the uncanny experience of a night guard, Weber constructs a familiar yet unstable landscape through abrupt transitions and dream-like imagery.
Fensive lies between documentary and artist’s film, following an artist’s examination of Clogheenmilcon Fen in Blarney, Cork. Using sardonic humour, it reflects on process and creative stagnation.
Developed over 12 months, the project involved collaboration with climate change researcher James Mulcahy and musician Holly Munro. Weber responded to the site through text and performance, which was reinterpreted over time, incorporating contributions from the local community.
Supported by the Arts Council of Ireland and Brand Blarney.
Developed over 12 months, the project involved collaboration with climate change researcher James Mulcahy and musician Holly Munro. Weber responded to the site through text and performance, which was reinterpreted over time, incorporating contributions from the local community.
Supported by the Arts Council of Ireland and Brand Blarney.
Weber explores the ontological relationships between labour, evolution and the term ‘invisibility’ within our 24-hour world. Invisibility relates to - concealment, earnings from the sales of non-tangible commodities, and is commonly associated with fantasy and science fiction.
Weber 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’ limitations. Using a laconic humour, Weber masks the darker realities of our new non-linear, arrhythmic patterns which have become ideal for consumption or production at any time of the day or night.
Weber 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’ limitations. Using a laconic humour, Weber masks the darker realities of our new non-linear, arrhythmic patterns which have become ideal for consumption or production at any time of the day or night.
Ruin-me-routine explores the blurred boundary between human cognition and machine systems. Presented within Wetware, the work reflects on how technology reshapes rhythms of perception and experience.
Nutjob explores the tension between the handmade and the manufactured, drawing attention to the unseen hands that quietly sort, pick, and package the things we consume. These gestures are repetitive and often invisible, and become central to the work.
Set within a manic, hand-drawn and vividly coloured environment, any sense of the familiar dissolves. What remains is a disorienting rhythm pulsing beneath everyday systems of production.