You Mustn't Go Looking
(2022 - ongoing)
After the Brexit tensions of 2021, the results of Northern Ireland’s census revealed a shift in the current identities of Northern Ireland. The election of a new party to minister and a nearly 50/50 ratio between both parties presents the possibility of a fragility to the border in the North.
Brian Friel’s play, Dancing at Lughnasa, explores Ireland’s mix of religion and politics and how these factors play out within the home. He uses the indoors as an analogy for safety, structure, and control. Outside of the home, the landscape is referred to as dangerous and Pagan.
For the body of work, You Mustn’t Go looking,
Emma draws inspiration from Friel and searches for the magical past of Ireland’s culture. Seeking answers through her upbringing and the elicitation of the supernatural in Northern Ireland’s mythical landscape.
You Mustn't go looking has been exhibited in London's Copeland Gallery (2023) and Stiwidio Griffith, Swansea (2024)
Emma Spreadborough’s You Mustn’t Go Looking, [is] an imaginative body of work that draws on the remnants of ancient tradition to address contemporary experience in Northern Ireland. Spreadborough takes inspiration from the writing of Brian Friel and his concern for the magical past in Ireland’s present-day culture. Friel’s play, Dancing at Lughnasa, explores Ireland’s mix of religion and politics and how these factors play out within the home. Using interior, domestic spaces as an analogy for safety, structure, and control, where, beyond the relative safety of the home, the landscape is regarded as dangerous and Pagan.
Spreadborough’s work explores a similar tension in her own upbringing through the evocation of the supernatural in Northern Ireland’s mythical landscape. Staged and performative scenes suggest a haunted realm of possibility within the everyday, with echoes of half-forgotten folk customs and children’s games, that reflect a wider search for meaning and connection. The forensic, seemingly objective style of these images is undercut by the dream-like, theatrical quality of the scenes being shown, blurring the line between fiction and reality. These enigmatic rituals bring the threatening, chaotic elements of the outside world into the home, which becomes a place to act out and conquer fears.
In You Musn’t Go Looking, Speadborough uses metaphor to address issues of place, belonging and cultural memory. The work also reflects current uncertainty and unease arising from recent seismic shifts in the socio-political landscape of the north of Ireland. A recent census in Northern Ireland revealed that for the first time since the establishment of the state, there are more people from a Catholic background in Northern Ireland than Protestants. The landscape is shown as a domain of opposing forces – past and present, tradition and change – that underlies everyday reality, breaking through the surface to make unexpected connections with contemporary life.
Text by Photo Museum Ireland
