Professor Sarah Glennie ∙ Director

NCAD WORKS 2024 provides a portal to the full breadth of work by our extraordinary graduates from across our four schools of Fine Art, Design, Education, and Visual Culture and encompasses students graduating from our broad range of undergraduate, postgraduate, and CEAD programmes. 

Collectively, our graduates represent Ireland’s creative future, and they each hold great potential to play a dynamic and impactful role in the Ireland we face right now. As you will see from this work, our students want to fuel change in a creative and productive way, from how we design our public services to the way we see each other. 

They are emerging into their professional careers at an exciting time as new opportunities emerge in Ireland for creative graduates. The creative sector is one of the fastest growing in the global economy. Ireland’s creative graduates drive our creative and cultural sectors, which currently contribute 3.7% of Gross Added Value to the economy, with room to grow even more.

Our students are fully engaged with the world beyond the NCAD campus, and they continue to demonstrate their ambition and commitment to make work that has impact and meaning to us all in many different ways. The big challenges that face society can be traced across our graduates' work as they apply their creativity to bringing new solutions, critical thinking, and reflection onto issues including sustainability, gender identity and equality, wellbeing, new technologies, and our digital and material futures.  

An education at NCAD is the starting point for generations of bold and curious minds that have made an enormous contribution to society in many different ways. We are confident that this generation is set to continue this extraordinary legacy as they leave us equipped with the imagination, creativity, and critical thinking that will ensure that they make an impact in whatever path they follow. 

So, on behalf of An Bord and all my colleagues at NCAD – congratulations to all our graduating students; we are extremely proud of all that you have achieved, and we look forward to following your creative journeys in the future.

Thomas St Campus

100 Thomas Street
Directions

7–15 June

Fri 7 June 10am–8pm
Sat 8 June 10am–5pm
Sun 9 June 10am–5pm
Mon 10 June 10am–8pm
Tue 11 June 10am–8pm
Wed 12 June 10am–8pm
Thu 13 June 10am–8pm
Fri 14 June 10am–8pm
Sat 15 June 10am–5pm

Courses on show:

BA Fashion
BA Jewellery & Objects
BA Textile & Surface Design
Joint (Hons) Education Design or Fine Art
BA Graphic Design
BA Illustration
BA Moving Image Design
BA Interaction Design
BA Product Design
Applied Materials
Media
Painting
Print
Sculpture & Expanded Practice
MA Design for Body & Environment
MA Communication Design
MA Interaction Design
MSC Medical Device Design
Prof Dip Service Design
BA Visual Culture

The Annex

102–3 James’ Street
Directions

7–15 June

Fri 7 June 10am–8pm
Sat 8 June 10am–5pm
Sun 9 June 10am–5pm
Mon 10 June 10am–8pm
Tue 11 June 10am–8pm
Wed 12 June 10am–8pm
Thu 13 June 10am–8pm
Fri 14 June 10am–8pm
Sat 15 June 10am–5pm

Courses on show:

MFA in Fine Art
MFA Art in the Contemporary World

Grace Gifford House

John St W
Directions

7–15 June

Fri 7 June 10am–8pm
Sat 8 June 10am–5pm
Sun 9 June 10am–5pm
Mon 10 June 10am–8pm
Tue 11 June 10am–8pm
Wed 12 June 10am–8pm
Thu 13 June 10am–8pm
Fri 14 June 10am–8pm
Sat 15 June 10am–5pm

Courses on show:

Media

Áine Cassidy

she/her

Commodification, the Commodity, and Femininity: Examining the Parallels of Sofia Coppola’s Marie Antoinette (2006) and Priscilla (2023)

The ornately cluttered, pastel-coloured images of girlhood, crafted by American director Sofia Coppola permeate her filmography, intricately shaping the worlds that surround her characters. Her cinematic focus on the material object through her distinctive mise-en-scènes emphasises the critical role that the commodity plays in Coppola’s vision of femininity.

‘Commodification, the Commodity, and Femininity’ is a research project that investigates the use of the material object with relation to womanhood in Coppola’s films Marie Antoinette (2006) and Priscilla (2023) – examining female commodification, female consumption, the navigation of femininity, and gender performativity. My research, informed by an interest in feminist theory, consumer culture, and film studies, aims to explore the nuances of womanhood that are encapsulated by Coppola’s depictions of soft femininity.

Áine Cassidy is a researcher and curator in the areas of film, gender, and political studies, with a broad ambition to become a cultural writer in the creative industries. She was recently selected for the 2024 Dublin International Film Festival’s Irish Film Curator programme, where she will curate and promote a film season at the Light House cinema this autumn.

View Essay

Research

<p>Still from <em>Marie Antoinette</em> (2006), directed by Sofia Coppola, Sony Pictures Releasing, USA</p>

Still from Marie Antoinette (2006), directed by Sofia Coppola, Sony Pictures Releasing, USA

<p>Still from <em>Priscilla</em> (2023) Directed by Sofia Coppola, A24, USA </p>

Still from Priscilla (2023) Directed by Sofia Coppola, A24, USA