Charlotte Prodger’s Stoneymollan Trail, 2015, the sole work in her first Dublin show, is a dense, elliptical, fitfully autobiographical film essay. It is the Glasgow-based artist’s most substantial moving-image production to date, but throughout its fifty-one restless minutes, it remains a work in search of a finished form. Pieced together from a media-miscellany of HD camera clips, iPhone videos, and older footage found in Prodger’s personal archive of camcorder cassettes, this is at once a tightly packed montage of recorded memories and an insistently inchoate account of the artist’s recent