格蕾丝.维尔（Grace Weir）
格蕾丝.维尔（Grace Weir）在都柏林的国家艺术大学学习，1997年从都柏林的圣三一学院取得多媒体专业的硕士学位。1997年她被推选为美国艺术与都市资源协会– PS1美术馆的常驻艺术家。2000年在都柏林的爱尔兰皇家学院举办个人艺术展，在2001年代表爱尔兰参加第49届威尼斯双年展国际艺术展。
格蕾丝.维尔（Grace Weir）曾到世界各地展示她的作品。2001年在澳大利亚佩斯的约翰.科廷画廊，她举办了个人画展“在现在”。2003年在曼彻斯特的角屋展出“细线 条”，2004年在伦敦的米勒画廊展出“同时在别处”。2007年伦敦的科学博物馆展出“在我自己的时间里”。
“在我自己的时间里”
这是一部对时间进行研究的发人深思的视频。这些电影是艺术家对黑洞，时间和光的概念，爱因斯坦的相对论，关于我们和时钟时间的关系哲学和理论物理方面的问题进行研究的结果。科学和科学的过程是格蕾丝.维尔（Grace Weir）研究的主题。但是她的视角锁定在科学家应该对她周围的世界进行研究，她的作品既达到了电影制作的质量和结构，又涵盖了科学的内容。
“尘埃藐视重力”
在“尘埃藐视重力”中，作者用单机未编辑的拍摄描述了一粒尘埃在都柏林丹辛克天文台内部落下的旅程。观众随着镜头一会儿来到栏杆，一会儿到了楼梯井，最后停留在桌子上，这是晃动的摄像机在打开的书本和仪器中拍摄的，预示了作品的间断性。
虽然人们有这样的暗示，重力是不可避免的，重力可以作用到最最微小的尘埃颗粒。但是，这部作品的神奇之处来自超乎寻常的共鸣；观众变成了侦探，随着摄像机静悄悄的穿越一个个逝去的空间。
“转折点”
“转折点”是在都柏林拍摄的一个短片。画面的开始是郊区的一间房屋，并切换到周围的景物：街道、树木、汽车、地上的落叶。然后进入一个昏暗的房间内，一个男人正躺在床上，看着房顶上由于窗外过往的汽车形成的光影图案。他起来，转身，听着汽车声，然后走到窗前。此时，三个情景同时发生：男人打开窗帘，一辆汽车开过和路上的一棵树随着汽车的驶过而摇动。
Grace WEIR
Grace Weir studied at the National College of Art in Dublin and in 1997 she received her M.Sc. in Multimedia from Trinity College of the same city.
In 1997 she was selected for a PS1 residency at the Institute for Art and Urban Resources in New York. In 2000 she had a solo exhibition at the Royal Hibernian Academy in Dublin and in 2001 represented Ireland at the Venice Biennale 49th International Art Exhibition.
Grace Weir has shown her works all around the world. In 2001 she had a solo exhibition, ‘Around Now’, at John Curtin Gallery in Perth, Australia. In 2003 she was at Cornerhouse in Manchester with ‘Fineline’ and in 2004 ‘Meanwhile elsewhere’ was presented at Percy Miller Gallery in London and in 2007 presented ‘In My own time’ at the Science Museum in London.
‘In my own time’
This is a thought-provoking video by that investigates time. The films are the results of the artist’s investigations into black holes, notions of time and light, Einstein’s theory of relativity, and questions in philosophy and theoretical physics regarding our shifting relationships with clock time. Science and processes of science are Grace Weir’s subjects. But her perspective is firmly that of an artist investigating the world around her, and her work is as much involved with the qualities and structure of film-making as it is with science.
‘Dust defying gravity’
In dust defying gravity a single unedited tracking shot describes the movement of a dust particle falling through the interior spaces of the Dunsink Observatory in Dublin. The viewer, then, becomes a spectral presence hovering over banisters and stairwells, eventually coming to rest over a desk, where the wavering camera takes in the opened books and instruments that indicate an interrupted project. Although suggestive of the inevitability of gravity, affecting even the smallest dust particle, the hypnotic fascination of this piece stems also from its uncanny resonances; the viewer becomes a detective moving silently through a sequence of outmoded spaces.
‘The turning point’
The Turning Point is a short film filmed in Dublin. It opens with a shot of a suburban house and cuts to various shots of the surroundings; the street, trees, cars, leaves on the ground. It then cuts to a dark interior shot of the house where a man is lying on the bed watching the patterns of light on the ceiling caused by the cars passing outside. He gets up, turning, listening to the traffic and walks to the window. Three things then occur at the same time; the man opens the curtains, a car passes by and a tree on the road rotates and spins around from the momentum of the car’s passing.