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The School of Culinary Arts and Food Technology, TU Dublin, Autumn Newsletter captured the many events, research, awards, significant contributions and special civic and community activities which the students and staff members of the school across our (3) three campuses have successfully completed up to the Autumn period of 2022. The successful completion of these activities would not be possible without the active and on-going support of the 'INSPIRED' friends of Culinary Arts (school supporters) and our school's industry association supporters.

The School of Culinary Arts and Food Technology, TU Dublin, Summer Newsletter captured the many events, research, awards, significant contributions and special civic and community activities which the students and staff members of the school (across our three campuses in Grangegorman, Tallaght and Blanchardstown) have successfully completed up to the Summer period of 2022. The successful completion of these activities would not be possible without the active and on-going support of the 'INSPIRED' friends of Culinary Arts (school supporters) and our school's industry association supporters.

This thesis will enable a retrospective critical examination of aspects of my practice as an artist from 2005 - 2020. The research question addresses the implication of multiple forms of inter-reliance enabled in the practice. This will be enabled by opening a discursive space that retrospectively, integrates and critically examines the role and function of inter-reliance as a structural methodology and how this is implicated in the practice over this period. This thesis will use term inter-reliance to define a play of relations where individual art works when viewed in isolation exist only in partial illumination as a form of penumbra. The art works are inchoate as separate entities only becoming activated or fully realised when engaged with collectively and interdiscursively, as a set of enabled relationships. In each of the chapters inter-reliance is manifested as a set of specific enabled reciprocal relationships between artistic mechanisms and physical, perceptual, associative, sonic, contextual and cinematic space. Rather than make art for art’s sake or art that specifically engages with trends or tendencies within the art world, it will elucidate how the practice is relational and empathetic, facilitating an inter-reliance between artist and viewer and artist and society, the practice engages with and reflects upon broader society where articulations of ideological positions are subtly embedded.