There hasn’t been a photography exhibition of the ilk of Sean Hillen at Kamera 8 in Wexford before, for one reason. Nobody captures his sense of history in reverse, or the cultural filter he deploys to segue pictorial elements from diametrically opposed sources, and deliver a composition.
Consider The Great Pyramids of Carlingford Lough: pure montage, but with a distinctive Hillen trope. I use ‘trope’ deliberately, because the metaphor is more figurative than narrative. So Hillen requires you to look beyond or, better still, look beneath.
Light is a keyhole rusting gently after rain, wrote Derek Mahon in A Disused Shed in Co. Wexford, and time is the undiscovered country in this work. Elsewhere, peruse Trouble With Glacier in Henry Street, Dublin, or The Lia Fail of Wexford, and perhaps Hillen is suggesting that photographic clichés exist to enable us to reconsider reality.
The news photographs rooted in Northern Ireland should have one function: arouse conflicting emotions, and they do, but our empathy is framed by detachment, and perhaps war fatigue. This is no fault of Hillen. With Ecstatic Nuns Outside the Casino at Powerscourt, the montage has the joie de vivre of collage, as if Truffaut is directing from the wings.