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JOHNNYMALLIN
What We Do
Contemporary artist Maser on his evolving career as a creative
And why elitism in the art world should be a thing of the past.
AS MASER LOOKS back on the past three decades of his career, one of Ireland’s favourite contemporary artists speaks to Ruth O’Connor about his evolving practice, finding inspiration, making a living as an artist and why elitism in the art world should be a thing of the past.
What inspired you to become a street artist initially, and how has your practice evolved over the past three decades?
Growing up art was never considered a serious pursuit around me – certainly not a ‘job’ or possible career path. Art was looked on more as a hobby – something on the periphery. But, as a young teenager, I had an innate urge to explore and be creative and, as part of that journey, I found graffiti. This subculture was my new community, my tribe – like-minded artists who shared that same curiosity and drive that I had. Over time, art became my primary means of expression – constantly evolving as I grew. It provided a platform to communicate, to engage and to push me creatively. It gave me, and still does to this day, a sense of purpose and place.
Has it always been important to you to engage with communities and to speak up about political and social issues through your work? Should artists always take on this mantle in society?
When you work in public spaces you naturally engage with the public. Because I’m not confined to a studio, painting outside, responding to my environment, has me absorbing what’s happening around me. That awareness informs the work. For me it wasn’t about setting out with a mission to be socially or politically driven, but rather a natural response to the landscape I work within. Do I think every artist should take on this role? Not really. I guess art can be purely aesthetic, personal or conceptual. But for me, painting in the public realm has made that engagement important and in some ways essential at times.
Art, especially fine art, is often seen as elitist. Do you think this is changing?
Yes and no. Art still has its elitist corners, and in some respects, there’s a place for that. But the boundaries are shifting. Artists today aren’t confined to one discipline, we’re painters, designers, sculptors, digital creators – ‘multi disciplinary’. The internet has also broken down the limited access – people can interact with artists and art more freely now and I enjoy this as an artist. At the end of the day, elitism in art has become dull – for me it’s far more exciting when work is accessible and open to everyone.
Do you sell art prints to make your work more accessible and will you continue to do so?
Absolutely. I love the process of editioning works, it allows me to collaborate with some of the best fine art print studios and I self-publish which makes my work more accessible to new collectors. Selling editions also supports my practice and, in turn, my family. Beyond that, a percentage of those sales helps fund initiatives like my artist residency programs and my Atelier Now gallery where I showcase and support other artists.
What has been your most challenging time as a creative?
A good few years ago, I had to take medication that completely numbed my creativity for about three years. It wasn’t good. I thought that the ‘chaotic idea-driven part of my brain had stopped for good. Thankfully it hadn’t and now I take my mental health seriously – making space to nurture a healthy, creative mind. Beyond that, external pressures, paying bills and making a living can be challenging as a creative in Ireland. Carving out space to explore and play and be creative can be hard at times, but it’s important that I prioritise that as it gives me purpose and happiness. Sometimes creatives have to take on projects that don’t fully align with their vision, but I feel that’s just part of the balance of sustaining a full-time creative career here.
How do you find working with institutions and individuals in Ireland versus working on projects abroad?
Working abroad is always interesting because you’re ‘the international artist’ which comes with a certain prestige. In Ireland, it’s different, you’re more familiar, which has its own advantages and challenges. I work with a mix of institutions, galleries and businesses. I thoroughly enjoy collaborating but I try to prioritise self-initiated projects. Having full creative control and flexibility over my work is something I really value.
Where do you look for inspiration?
I don’t actively search for inspiration. It’s hard to explain but it just happens. I guess the key is being open to it and making space for it. For me, inspiration comes when I’m engaged. Walking, traveling, meditating, training, talking to people, absorbing different perspectives and environments… It’s about making connections between seemingly unrelated ideas. The process isn’t linear, the work is abstract and in some way I’m falling into abstraction when trying to explain it. It’s about constant input and subconscious assembly – until eventually something clicks and the concept or piece falls into place.
Can you describe your workspace?
From the outside it probably looks structured. To me, it’s chaos, busy, playful… but a functional chaos. I have different areas for different types of work. I have a clean, organised space for digital and computer work (emails and design concept) and a workshop space that’s messy with good energy, colour and layers. Everything in there is a work in progress. I feel very at home in that environment.
Can you describe a typical working day?
There’s no typical day really. Some days I’m in the studio painting, designing or writing back to an endless list of emails. Other days I’m planning large-scale projects, painting outside, meeting collaborators or working with institutions. After I drop my son to creche I try to do some sort of wellness practice – either meditation, physical training or simply walking to the studio. I feel it sets me up better for the studio and helps get me into the flowstate.
How important is teamwork and collaboration to you?
Sharing ideas, energy and perspectives is invaluable for me. While I love working independently, collaboration brings fresh insights and challenges that push the work in new directions. Finding people who align with your vision and work ethic makes a big difference.
If you weren’t an artist, what would you be doing?
Good question. Maybe a chef? I worked in a few kitchens over the years when I was younger and always loved it. Creativity has always been my only real path. Teaching is something that interests me as well but I haven’t fully figured out what that would look like.
What will you be doing at the Art Evolve Fair and why do you think events like these are important for the Irish art scene?
At Art Evolve, I’ll be creating a sort of retrospective showcasing key projects from over the years. For me it’s not just about selling the work, even though that’s important, it’s about giving people a deeper insight into my process and the stories behind the pieces. I’ll also be hosting talks and inviting people to engage in conversations about the work. Events like this are important in Ireland. They bring artists, galleries, art lovers, collectors and art curious people together in an open, accessible way.
The best of cutting edge modern and contemporary art will be showcased at the inaugural Art Evolve fair at the RDS. The top ten Dublin galleries, representing over 300 Irish contemporary artists, will come together for the first time from April 4th to 6th 2025. With over 60 galleries and artists exhibiting overall, Art Evolve will bring together the very best in exciting Irish and international contemporary art in this unmissable show.
Find out more at artevolve.ie.
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