Portfolio Submission for The Matsu Biennale
Artist Statement

"I have always been inspired by the patterns hidden within the chaos of the natural world and the potential of technology to make these unseen forces tangible."

Kerrie O'Leary (b. 1992) is an Irish artist working at the intersection of art, science, and technology. Based in London, her practice transforms abstract data into evocative kinetic sculptures and immersive installations, creating artworks that reveal the profound interconnections between humans, technology, and the environment. Her work bridges an analytical foundation, gained through a BA in Management Science and Information Systems at Trinity College Dublin, with the creative vision she honed during an MFA in Computational Art at Goldsmiths, University of London.

O'Leary’s work uses computational techniques, machine learning, and algorithms to explore vast phenomena like tides, climate change, and quantum systems. For her, data is a creative material, rich with narrative potential, which she transforms into physical forms that make the intangible tangible. During a residency in Maine, she translated the cyclical rhythms of tides into kinetic artworks, while her recent residency in Berlin investigated time as both a measurable and subjective phenomenon, intertwining quantum mechanics with layered interpretations of time from Irish folklore. These projects demonstrate her ability to bridge ancient narratives and cutting-edge science, inviting viewers to reflect on humanity’s relationship with the natural world.

Her art has been exhibited in venues such as Somerset House, the V&A, and internationally in New York, China, and Dublin. Public artworks, created in collaboration with organisations like The Eco Show Boat, spotlight pressing issues such as the climate crisis, inspiring audiences to connect deeply with the environment.

Project Proposal
Tidal Echoes ~ Rhythms of Sea and Light

Philosophy:

"Tidal Echoes" captures the spirit of Matsu’s unique maritime environment, drawing inspiration from its daily tidal cycles and the phenomenon of Blue Tears. The work reflects the genius loci of Matsu, grounding itself in the island’s cultural, ecological, and historical essence. This interactive sculpture invites visitors to consider the profound interplay between humans and nature, highlighting how human presence and activity can subtly or dramatically impact the delicate balance of ecosystems.

The project uses Matsu's semi-diurnal tidal rhythms (two high and two low tides daily) to craft a kinetic, light, and sound-based artwork that celebrates both the predictability and poetic dynamism of these cycles. With locally sourced fishing materials, such as line and weights, the sculpture fosters a deeper connection to the island’s fishing community and emphasizes sustainable creation, allowing components to be reused post-exhibition.

Description:

The installation will be a moving sculpture (in line with my previous work (372.5~DUBLIN BAY) suspended within an indoor or semi-enclosed space. Using thin, almost-invisible fishing line and weights, the sculpture’s form will undulate in sync with Matsu’s semi-diurnal tidal data. Blue light, evocative of the bioluminescent algae known as Blue Tears, will be activated only in the presence of visitors. This interaction will be made possible by sensors that detect movement within the space. The deliberate interplay between light and human presence mimics the way our activities affect natural ecosystems—drawing attention to both their beauty and their vulnerability.
The soundscape, created in collaboration with local residents, will blend natural and human sounds from Matsu—such as lapping waves, fishermen’s calls, and winds through the island's hills—underscoring the daily rhythms that define life on Matsu.

By combining these elements, the work creates an immersive environment that simultaneously represents and respects Matsu’s genius loci, connecting visitors to the island’s identity and encouraging them to consider their role in the ecological systems around them.

Production Process:

1. Research Phase:

• In discussion with the curatorial team, I would like to be put in contact (via Zoom) with local fishermen and ecologists to understand Matsu’s tidal cycles, fishing practices, and maritime history.

• Develop a way to collect sounds and stories from residents, capturing the "quotidien" rhythms of life in Matsu.

2. Design Phase:

• Translate tidal data into physical movement patterns using computational tools.

• Create a digital model of the sculpture to simulate its interaction with light and sound.

3. Construction Phase:

• Construct the sculpture using locally sourced fishing line, weights, and sustainable materials.

• Incorporate sensors to trigger blue lighting, tying human interaction to environmental response.

4. Installation Phase:

• Transport and install the work in Matsu, calibrating the kinetic and lighting systems for the space.

• Finalize soundscape and test the visitor interaction system on-site.

Materials & Methods:

• Materials: Recycled fishing line, fishing weights, wood or metal frames (sustainable or repurposed), LED lighting (blue spectrum), sensors, and audio equipment. These fishing lines and weights can be reused by locals after the exhibition.

• Methods:

• Tidal data will be converted into movement patterns using custom algorithms.

• Sensors will be programmed to trigger LED lights based on visitor presence.

• All materials will be chosen with sustainability and post-installation reuse in mind, prioritizing recyclable and locally sourced resources.

Dimensions:

Approximate dimensions:  2.5m (width) x 2.5m (depth)x height site dependent

Schedule for Creation and Installation:

• March 2025: Research and local collaboration (data, sounds, materials).

• April–June 2025: Design and prototype development.

• July 2025: Sculpture construction and soundscape production.

• August 2025: Shipping materials to Matsu, arrive on site to do the live sound recordings .

• Sept 2025: unveil work to the public, artist presentation and interviews
  ***For deinstall, discussions will need to take place whether it would be more appropriate for me to hire a local technician to disassemble the work opposed to me flying out to do this/

b. Visual Materials

• Please see my previous installation 372.5 ~ Dublin Bay, the work I propose for this will use a similar mechanism but with different fabric that will illuminate when the sensor is triggered

c. Budget Plan

Item Estimated Cost (USD)
Design & Conceptualization $6,000
Materials (fishing line, weights, LEDs, sensors) $6,000
Soundscape Production $2,000
Production Costs $6,000
Freight to Matsu $3,000
Travel (round trip + local transport) $3,000
Accommodation (30 days) $2,000
Installation & Dismantling $3,000
Miscellaneous Costs (permits, venue restoration, etc.) $1,000

Total $32,000

d. Project Schedule

• March 2025: Research tidal data, collect sound recordings, and collaborate with local communities.

• April - May 2025: Develop design prototypes and sound compositions.

• June–July 2025: Build and assemble the sculpture.

• August 2025: Transport materials and equipment to Matsu and install on site

• September 2025: unveil work to the public

Motivation Letter

Dear Selection Committee,

I am Kerrie O’Leary, a computational artist whose practice lies at the intersection of art, science, and technology, with a focus on the rhythms of the sea and our relationship with maritime ecosystems. Growing up in Howth, a fishing village in Ireland, I have been immersed in the ebb and flow of daily life shaped by the tides. This connection has profoundly influenced my artistic journey, driving me to explore the interplay between natural cycles, data visualization, and human impact on the environment.

During my residency at the Tides Institute & Museum of Art in Eastport, Maine, I delved deeply into the artistic potential of tidal data, translating the semi-diurnal tidal movements of the Bay of Fundy into kinetic, light-based installations. This experience not only honed my ability to work with tidal rhythms as a medium but also enriched my understanding of how coastal communities interact with and depend on these natural cycles.

The theme of the 3rd Matsu Biennial, “Your Sea, My Land,” resonates deeply with my practice. Matsu’s tidal environment, fishing culture, and the stunning natural phenomenon of Blue Tears offer a rich context for exploring the profound connections between humans and the ocean. I am particularly drawn to the concept of genius loci, as I believe that art grounded in the spirit of a place can create meaningful connections with its audience.

With “Tidal Echoes,” I aim to celebrate Matsu’s unique maritime identity by creating an immersive, interactive installation that translates Matsu’s semi-diurnal tidal data into kinetic movement, light, and sound. Incorporating local materials such as fishing line and weights, the work will reflect the island’s fishing traditions, while its visitor-activated lighting system will highlight the intricate relationship between human presence and environmental change. I believe this piece will foster a dialogue on the beauty and fragility of oceanic ecosystems and the daily rhythms that shape coastal life.

I am excited about the opportunity to bring this vision to life as part of the Matsu Biennial. By incorporating elements of Matsu’s natural and cultural heritage, I hope to create a work that resonates with the local community and international audiences alike, while contributing to the Biennial’s theme of shared maritime identity.

Thank you for considering my application.
Best regards,
Kerrie O’Leary

Artist CV
Selected Exhibitions
2025 IN SCOPE 17th Jan - 22nd Feb, Hypha HQ, Euston London, UK
2023 Eco Show Boat, 1 Windmill Lane, Dublin, Ireland, funded by Irish Arts Council
2023 Between Creativity and Individuality, Huanggang Normal University Hubei, China
2023 Changing Course (DEFRA Futures), Somerset House ,London
2023 Hidden in Plain Sight, Open Data Week, Data Through Design , New York, funded by Brooklyn Arts Council
2023 OVERFLOW, hARTslane Gallery,London, UK
2023 Medway Light Nights Festival,Chatham Highstreet, Kent, UK, funded by Arts Council England
2022 Spectacle for Later, Rio Cinema, London, UK
2022 Can Water Be Thirsty (also here), Storm Studio, Brooklyn, New York
2022 Hang Party, Brixton House Theatre, London, UK
2022 London Digital Design Festival, The Victoria & Albert Museum London, UK
2022 Subsystems , Goldsmiths University of LondonLondon, UK
2022 Digital Fantasies , The Wrong Biennale, Online
2021 Shivers, Goldsmiths University London, London, UK
2021 off(CAMPUS), Goldsmiths University London

Solo Shows
2021 The Scenic Route, The College Lane Gallery, Dublin, Ireland

Awards and Residencies
2024 Studio Quantum and Goethe Institute Residency Akademie der Kunste, Berlin
2024 Maker With a Mission @ Makerversity Residency Somerset House, London
2024 Fine Art Work Centre, Finalist Residency FAWC, Provincetown, USA
2023 Tides Institute and Museum of Art Residency Eastport, Maine, USA
2023 Develop Your Creative Practice Grant Arts Council England
2023 EMAP Residency, Shortlisted Residency EU Media ArtPlatform
2022 London Design Festival Award The Victoria & Albert Museum
2021 College Lane Gallery Residency Dublin, Ireland
2021 Public Sculpture Emergency Exit Arts Award London, UK

Press and Features
2023 NY1 News, Open Data Week
2023 Stefan Sagmeister Blog
2023 Medway Light Nights Festival
2022 Vertex, Cambridge University Magazine

Selected Speaking and Teaching
2024 Let’s Get Physical: Data Visualisation Workshop Somerset House, London Design Week
2024 Computational Art & Digital Storytelling Guest Lecture Camberwell College of Art
2024 Immersive Storytelling Panel Discussion Somerset House, London
2024 Mentor with Unloc, Steering the Future Morley College London, UK
2024 Jurer, Tides Institute and Museum of Art Eastport, Maine, USA
2023 What is Data Visualisation Eastport High School Eastport, Maine, USA
2023 Physical Computing and Art Eastport High School Eastport, Maine, USA
2023 The School of Looking Eco Show Boat Dublin, Ireland
2023 Hidden in Plain Sight Data X Design New York, New York
2022 What is Computational Art? Sutton Park School Dublin, Ireland
2020 Combining Art and Computer Science Chapin Girls School New York, New York 

EDUCATION 

2022 MFA Computational Arts, Goldsmiths University London, First Class Honours

2019 Diploma Front End Web Development, IBAT College, Dublin
2015 B.A Management Science and Information System Studies, Trinity College Dublin 

Portfolio

372.5~Dublin Bay, 2023
Commissioned for Eco-Show Boat, funded by Irish Arts Council, installed at 1 Windmill Lane

372.5 ~ is a series of kinetic sculptures that transforms the invisible rhythms of tidal forces into a tangible experience. Designed by the artist, this work uses open-source tidal data and a system of pulleys and weights to physicalize the ebb and flow of the sea over a 6-hour tidal period (372.5 minutes).

Inspired by historical tidal measurement methods, the installation's movement is driven by tidal data, with vertical fabric motion controlled by this data and horizontal movement powered by a custom-designed sinusoidal cam-shaft, influenced by the Doodson Lege device. This mechanism encapsulates the vast, interconnected scale of tides, revealing their temporal depth and hyperobject nature.

372.5 ~ engages with environmental issues, subtly addressing climate change and human impact through the lens of tidal data. It bridges the digital and physical realms, translating abstract information into a dynamic, accessible visualization. Rooted in the artist’s personal connection to the sea in Howth, Dublin, the piece invites viewers to reconsider the sea as a vast, powerful force rather than just a resource.

This installation prompts reflection on nature’s patterns—those we understand and those that remain elusive—challenging viewers to see beyond the surface and fostering a deeper awareness of the environmental crisis we face.

Syntax of a Swimmer, 2024

Syntax of a Swimmer is a generative art series that translates the data from 110 open-water swims into dynamic visualizations. Since December 2023, O'Leary has collected data from each swim, analyzing it in relation to tidal levels, ranges, and timing at various locations. The result is a series of flowing, organic curves that represent the interplay between human motion, time, and nature.

Using a custom algorithm, the artist transforms this data into smooth, rhythmic lines that capture the fluidity of both the swimmer and the tides. Each piece reflects subtle shifts in tidal patterns, with the curves bending and flowing in a way that evokes the unpredictable nature of water. The work explores the intersection of time, tide, and motion, offering a unique, personal glimpse into the hidden connections between the natural world and the technology used to interpret it.

The works are plotted on paper using a drawing machine, each piece a one-of-a-kind exploration of these natural rhythms.

N.Y.Sea, 2023
Commissioned for New York Open Data Week, funded by Brooklyn Arts Council

N.Y.Sea uses historic data of NYC river levels alongside storm flood predictions to highlight the vulnerability of the New York subway system. The data drives the vertical movement of fabric, while a custom-designed sinusoidal cam-shaft creates undulating motions, where the artist has hand-embroidered the subway routes.

This installation invites reflection and dialogue, challenging audiences to reconsider their relationship with the environment and the limits of human understanding. N.Y.Sea serves as a powerful intersection of art and technology, shedding light on the complexities of urban infrastructure and the environmental forces that shape it.

Message in a Bottle, 2022

Message in a Bottle is an evocative installation that merges technology, environmental data, and artistic expression to illuminate the devastating impact of plastic pollution in the oceans. Using 13 controlled motors and a comprehensive dataset from NOAA's buoy near the Great Pacific Garbage Patch, this work transforms raw data into a sensory storytelling experience.

Inspired by the artist’s deep connection to the sea, the installation channels her fascination with water’s movement into a poignant commentary on oceanic degradation. It visualizes significant wave heights recorded by NOAA's weather station 46246 (50°1'2" N 145°10'12" W), an area deeply affected by plastic accumulation.

The installation uses NOAA’s historical data, logged every 30 minutes since 2010, to drive motors that simulate wave motions within the Great Pacific Garbage Patch. The mechanical choreography is accompanied by a custom soundscape, echoing the rhythmic and dissonant sounds of the sea, and subtle visual projections that add ethereal beauty to the grim subject matter.

Message in a Bottle transforms static data into a dynamic, living entity, invoking a deeper emotional connection with the viewer. The rhythmic rise and fall of the waves not only reflects the ocean’s physical movements but also serves as a metaphor for the relentless and pervasive nature of pollution. The work challenges viewers to confront the reality of plastic pollution and its profound impact on the environment.

Through this installation, O’Leary offers an immersive, emotional experience that bridges technology and environmental advocacy, urging reflection and action in the face of climate change.

372.5~Howth

2022
The sea is not a landscape or facilitator of human activity but an entity of vast geographical and temporal scale that possesses agency. It’s behaviour is constantly being predicted, recorded and stored. 372.5~Howth explores the effortless distribution of water during a tidal period. The piece is a continuation of O’Leary's research into hyperobjects and how abstract data can be transformed using technology to make natures complexities tangible.
There are patterns in nature we can see and understand but there are also patterns we cannot seem to figure out. There is a common understanding of the ebb and flow of tides but less awareness of the volume of water that is stretched within the typical 6 hour time frame (372.5 minutes). Having grown up by the sea I have been exposed to these shifts and have experienced the tidal movements whilst on the water sailing, swimming and paddleboarding. 372.5 ~ Howth uses a system of pulleys and weights inspired by the historical methods of tidal measurement to recreate its current behaviour.

SEE TURTLES

2021, computer vision, LEDs, reused plastic containers
An installation created in the residency space at College Lane Gallery that engages the viewer and creates awareness of the plastic pollution in our oceans.
Using computer vision, physical computing components and re-used plastic objects SEE TURTLES creates an underwater world revealing how turtles see plastics and can easily mistake them for food...
The computer vision detects movement in front of the webcam (in the window) and draws rotating spirals on the projections. The motions sensed triggers the LEDs and the micro servos that activate the jellyfish in front of the projections.
What do you see? What do you think turtles see?

SEA~SICK

2020
shown at College Lane Gallery, Dublin (2021), The Rio Cinema, London (2022)
Using wave data collected from the West Coast of Ireland, the corners of the fabric are tilted using micro-servos. The degree of rotation is determined by the wave heights and is connected to the fabric using invisible thread. The reflection of the fabric and the wave like motion hopes to connect people to the sea when they cannot physically get there.