SCULPTURE BY SANDRA BELL
RHYTHM AND RHYME BY SANDRA BELL [A SCULPTURAL ODE TO IRISH CONTINUITY AND PEACE IN DUNDALK]
I. Introduction: "Rhythm and Rhyme" – A Symbol of Continuity and Peace in Dundalk
A. Unveiling "Rhythm and Rhyme"
Sandra Bell's "Rhythm and Rhyme," a significant public artwork sited on Earl Street, Dundalk, in 2002, stands as a potent emblem of cultural and historical resonance.
This cast bronze sculpture, with its impressive height of 1700mm (or dimensions of 120 x 150cm as noted by another source), is immediately striking for its distinctive blue and green patination, hues deliberately chosen to evoke the nearby sea.
More than a mere civic ornament, "Rhythm and Rhyme" possesses a dual identity that elevates its importance: it serves as a prominent public monument while also being an enlargement of a prestigious gift. This original, smaller version was presented by the people of Dundalk to former United States President William J. Clinton during his significant visit to the town. This connection to a figure of international standing, deeply involved in Ireland's peace process, imbues the sculpture with layers of meaning that extend far beyond its physical presence.
The artwork itself is a complex narrative woven from artistic vision, pivotal historical events, ancient traditions, and the distinct identity of its locale. Its genesis as a gift to a world leader actively engaged in fostering peace provides a compelling diplomatic and historical thread. This is intricately layered with its profound connection to the ancient Celtic torc, an artefact rich in cultural and historical symbolism for Ireland. Furthermore, the artist, Sandra Bell, has explicitly stated that her inspirations are drawn from Irish heritage, contemporary ecological understanding, and the concept of legacy, adding a personal and contemporary artistic dimension. Finally, its specific patination and thematic elements, reflecting Dundalk's coastal culture, ground the sculpture firmly in its local context. These diverse narratives intertwine, much like the two figures depicted within the sculpture itself, creating a multifaceted symbolic piece rather than a straightforward commemorative statue.
B. Core Themes and Significance
"Rhythm and Rhyme" is thematically rich, exploring profound connections to Irish heritage, the ancient symbolism of the Celtic torc, the delicate yet determined journey of the peace process in Ireland, and overarching concepts of legacy and future aspirations. It functions as a significant commemorative piece, marking President Clinton's visit, an event described in the context of his "Mission of Peace". There is a slight discrepancy in some accounts regarding the exact date of the presentation of the original gift to President Clinton; while the public sculpture was sited in 2002, and some sources link the gift presentation to this year, substantial evidence points to President Clinton's visit and the presentation of the initial, smaller sculpture occurring on 12th December 2000. This timeline will be explored with greater precision below.
Beyond its commemorative role, the sculpture serves as a cultural landmark that actively "celebrates the coastal town’s culture". Its form and symbolism are intended to represent "the continuity of the Irish people – learning from legacy whilst looking toward the future". The very name, "Rhythm and Rhyme," offers a conceptual key to understanding the work. It likely alludes not merely to poetic harmony but to the harmonious balance and profound interconnectedness that the artwork itself symbolises. There is an inherent rhythm in history and tradition, and a corresponding rhyme between the past and the future, which the sculpture seeks to capture. The depiction of "two intertwined figures...bound to each other" suggests a relationship of equilibrium and mutual dependence, akin to the structural and aesthetic interplay of rhythm and rhyme in verse. This notion of continuity, where the past informs and resonates with the future, implies a cyclical, rhythmic progression. Such themes align closely with Sandra Bell's broader artistic preoccupations, which often encompass 'Harmony' and 'Balance'. The selection of such an evocative title is rarely arbitrary in artistic practice and typically points towards the core conceptual underpinnings of the creation.
"Rhythm and Rhyme" – Sculpture Overview
The artist behind "Rhythm and Rhyme" is Sandra Bell. The public sculpture was sited in 2002 on Earl Street, Dundalk, Co. Louth. However, the original, smaller version of the sculpture was presented as a gift to President William J. Clinton on 12th December 2000, during his visit to Dundalk. The sculpture is crafted from cast bronze and stands at a height of 1700mm , or is described with dimensions of 120 x 150cm. A distinctive feature is its patination in blue and green hues, reflecting the sea. Key symbolism embedded in the work includes the continuity of the Irish people, the importance of legacy, aspirations for the future, the concept of intertwined destinies, and the ancient Celtic torc. The sculpture also serves a commemorative purpose, marking President William J. Clinton's visit to Dundalk and his "Mission of Peace".
II. Sandra Bell: Sculpting Ireland's Spirit
A. Biographical Context and Artistic Genesis
Sandra Bell, born in 1954, received her education in Newry, Dundalk, and at Glengara Park, Co. Dublin. Her continued residence and artistic practice in Dundalk establish an intrinsic link to the town where "Rhythm and Rhyme" is prominently displayed. Bell embarked on her sculptural journey in the 1980s and is distinguished as a self-taught artist. This path underscores a profound personal dedication and an innate artistic drive. She specialises in the ancient and intricate "Lost Wax Method" for bronze casting, a technique demanding considerable skill and precision. Her commitment to this traditional craft is complemented by an engagement with contemporary methodologies, including sustainable approaches such as using 3D printed PolyLactic Acid (PLA) models for casting certain pieces.
B. Artistic Style, Influences, and Thematic Concerns
Bell's sculptural language is characterised by "simple linear patterns and flowing shapes," resulting in works often described as "sinuous, sensuous, elegant, graceful, tactile, feminine". Her sculptures are not intended for passive viewing; they "invite active participation," encouraging a sensory engagement with their forms and surfaces. While her artistic influences are diverse, drawing from Celtic, Classical, and African art, her oeuvre maintains a "uniqueness that is her own style". She makes distinct references to Celtic and Classical traditions, exploring recurring themes of 'Harmony' and 'Balance'.
A central focus of Bell's work is the human form, which she abstracts to "eliminate detail so that only the essential essence of the figure remains". Her artistic ambition is to portray "not the flesh, but the spirit and grace of humanity in bronze". This pursuit of essential form allows for a play of light through "simple but challenging lines" that create "large spaces" within the sculptures. Her inspiration is deeply rooted in "Irish heritage and the ecology of who we are today". Consequently, her art often serves as a "modern interpretation of the natural beauty of Ireland and its ancient past, rich in history and culture, its concepts of legacy, timelessness and reflection".
This combination of a self-taught path with mastery of ancient techniques like lost-wax casting, alongside the incorporation of modern sustainable practices and contemporary abstract forms, positions Bell as an artist who skilfully bridges tradition and modernity. She respects and revitalises established methods and historical inspirations while simultaneously engaging with pressing contemporary concerns. Her explicit aim to draw on "Irish heritage and the ecology of who we are today" clearly demonstrates this desire to link past identity with present-day consciousness, creating a dynamic dialogue within her practice.
The formative influence of Dundalk on Bell's work is also apparent. Having been educated in the town and continuing to live and work there suggests a strong personal and artistic connection. This local grounding likely informs sculptures such as "Rhythm and Rhyme," which is not only sited in Dundalk but also specifically "celebrates the coastal town’s culture". Her general statement that "my sculpture naturally compliments its surrounds" would carry particular weight for works created for and situated within her own community, implying a deep-seated local inspiration that enriches her broader Irish themes.
C. Commitment to Sustainable Art Practices
A significant aspect of Sandra Bell's contemporary practice is her commitment to sustainability. She emphasises that her cast bronze Irish art and metal sculpture is "sustainably made". Her studio, Sandra Bell Sculpture, operates with a philosophy that is "unique and made with sustainability in mind". This encompasses the entire creative process, from "carving figures out of wax, 3D printing in PLA, and molding them into cast bronze or fabricated metal," consistently employing "sustainable processes and materials".
Specific sustainable practices implemented by her studio include the meticulous recycling of all scrap metal and the use of biodegradable materials where feasible, such as PLA, a corn-based sustainable material used for 3D printing models that are then sand-casted. Further measures include rewiring facilities to decrease electricity loss, enhancing air efficiency through re-insulation, reducing energy consumption by transitioning to LED lighting, and utilising solar energy. Bell's philosophy intrinsically links these sustainable practices with broader cultural and environmental values; she actively seeks to "raise awareness in conservation and promote environmental values through her art". Each sculpture is intended to be "rooted in the beauty and harmony of the natural environment".
This profound focus on "harmony and balance," a predominant aesthetic theme in her work , extends deeply into her operational ethos. It is not merely an artistic choice but a guiding principle that permeates her sustainable practices, reflecting a desire for harmony with nature, and is mirrored in the symbolism of her sculptures like "Rhythm and Rhyme," which speaks to the harmony between past and future through its intertwined figures. This demonstrates a holistic artistic vision where philosophy, process, and the final product are cohesively aligned.
D. Recognition and Commissions
Sandra Bell's contribution to Irish art has been widely recognised, evidenced by her being awarded over 30 site-specific commissions in Ireland and internationally for both cast bronze and fabricated metal sculptures. This substantial body of commissioned work signifies considerable trust in her artistic vision and her capacity for proficient execution. Her sculptures are featured in numerous key galleries and museums, and her pieces have been offered at auction on multiple occasions, achieving significant realised prices.
Notable examples of her public commissions include "Unity" for Cherrywood Business Park in Dublin and "Teachers Inspire" for Dublin City University, both unveiled around 2018/2019. She has also created works for prominent organisations such as An Post (the Irish postal service), Unilever, the Cork Film Festival, and the Gaelic Athletic Association (G.A.A.). Her website lists "Rhythm and Rhyme" among her commissions, underscoring its place within her significant public art portfolio.
Other significant public commissions by Sandra Bell include:
"Rhythm and Rhyme" (sited 2002) located on Earl Street, Dundalk. This piece was commissioned to commemorate President Clinton's visit and is an enlargement of the gift presented to him. It is part of her Torc Series, symbolising continuity, legacy, and the future, with a blue/green patination reflecting the sea.
"Teachers Inspire" (circa 2019) for Dublin City University, a sculpture that honours teachers in Irish society.
"Unity" (circa 2019) a site-specific commission for Cherrywood Business Park, Dublin.
The "Rose Bowl," "Torc," and "Granuaile" are pieces that connect to mythological Ireland and ancient Celtic artefacts, with "Torc" being part of her Torc Series. "Granuaile" likely references the pirate queen Grace O'Malley.
"Spirit of Rialto" is an original commissioned artwork, likely for Rialto, Dublin.
A series of original commissioned artworks were created for the Fyning Hill Estate.
She has also undertaken commissions for An Post (Irish Postal Service) and Unilever, creating cast bronze sculptures for these organisations.
III. A Presidential Endorsement: The Dundalk Visit and the Symbolic Gift
A. Context of President Clinton's Visit to Dundalk
Former U.S. President William J. Clinton visited Dundalk on 12th December 2000. This engagement was a significant stop on his farewell tour before concluding his presidency and marked his third visit to Ireland in that capacity. The primary purpose of this visit was described as a "final opportunity to personally shore up popular support for the Good Friday Agreement on both sides of the border". While the user's initial query refers to this as a "Mission of Peace," and the sculpture "Rhythm and Rhyme" is directly linked to this "Mission of Peace" by the artist , at least one official account does not use this specific term, though the peace-building intent of the visit is unequivocally clear.
The choice of Dundalk as a venue was profoundly symbolic. The town had been identified as a location where the perpetrators of the Omagh bombing had planned their devastating attack, an act designed to derail the fragile peace process. President Clinton's presence and speech in Dundalk were therefore a direct address to those forces seeking to undermine peace, and he powerfully encouraged the assembled crowd to "stand up for peace today, tomorrow, and the rest of your lives". Accounts from the time describe a "huge crowd" that had gathered, "waiting patiently" for President Clinton, who arrived with the First Lady and their daughter around 9 p.m.
B. The Presentation of the Sculpture
During this historic visit on 12th December 2000, a smaller version or replica of what would become the public sculpture "Rhythm and Rhyme" was presented to President Clinton by the people of Dundalk. It is important to clarify the timeline here: while some materials from the artist and the initial user query mention the gift presentation occurring on 12th December 2002 , the preponderance of evidence, including contemporaneous accounts and official records of the President's visit, firmly places this event in December 2000. The larger public sculpture, an enlargement of this gift, was subsequently commissioned and sited on Earl Street in 2002. The 2002 date in some sources likely represents a conflation of the public sculpture's installation year with the original gift event, or perhaps a misremembered detail that has persisted. The core significance of the gift, however, remains tied to the 2000 visit.
Upon receiving the sculpture, President Clinton reportedly "raised it in the air to the cheers of thousands of Irish people". This spontaneous and public gesture of acceptance and appreciation significantly amplified the symbolic impact of the gift. This original piece is now part of the "Personal Collection of William Jefferson Clinton".
The presentation of this artwork to President Clinton, a key international figure who played an "instrumental role in achieving the Good Friday Accord" , transforms the sculpture into an embodiment of international support for the Irish peace process. The gift, originating from "the people of Dundalk" , signified local gratitude and a shared commitment to the peace that President Clinton had so actively championed. The subsequent public commemoration of this event through the enlarged sculpture permanently marks this significant interaction and the values of peace and reconciliation that Clinton espoused during his visit to Dundalk. This act of gifting and the ensuing public monument transcend a purely local or national narrative, linking Dundalk and the Irish peace efforts to a global stage through the figure of the U.S. President.
Timeline of President Clinton's Visit and "Rhythm and Rhyme" Sculpture
On 12th December 2000, President Clinton visited Dundalk. This visit was part of his farewell tour and his third as President to Ireland, aimed at reinforcing support for the Good Friday Agreement. Dundalk was chosen for its symbolic significance, particularly in relation to the Omagh bombing plot, and President Clinton delivered a speech encouraging peace.
Also on 12th December 2000, a smaller version or replica of the "Rhythm and Rhyme" sculpture was presented to President Clinton. This gift from the people of Dundalk was raised to cheers by the President and symbolised peace and appreciation for his efforts. The piece is now in his personal collection.
In 2002, the enlarged public sculpture "Rhythm and Rhyme" was sited on Earl Street, Dundalk. This was commissioned to commemorate President Clinton's 2000 visit. It is part of Sandra Bell's Torc Series and features a blue/green sea-hued patination.
It is worth noting a discrepancy: some sources state the gift presentation occurred on 12th December 2002. However, this likely conflates the original gift event in 2000 with the public sculpture's installation year in 2002. The primary event of Clinton's visit and the initial gift is firmly dated to 2000.
C. "Rhythm and Rhyme" as a Commemorative Public Work
The monumental version of "Rhythm and Rhyme" was officially commissioned and installed in Earl Street, Dundalk, in 2002. Its specific purpose was to "commemorate the visit of President Bill Clinton to Dundalk in 2000". This direct link is well understood by the public. A letter to the editor published in The Irish Times by Brenda Morgan eloquently captures this connection: "Her Rhythm and Rhyme sculpture sited in Earl Street, Dundalk is an enlargement of the sculpture presented to President Bill Clinton and his family when they visited the area in December 2000... In his speech when presented with the sculpture he said: 'I can tell you nothing – nothing – will compare to the gift Ireland gives to the World if you make peace here permanent. You can give people all over the world desperately needed hope and proof that peace can prevail; that the past is history, not destiny. That is what I came to ask you to redouble your efforts to do.'". This powerful quote, recalled in relation to the sculpture, underscores the profound and enduring link between the artwork, President Clinton's words, and the broader aspirations of the peace process.
The dual nature of "Rhythm and Rhyme" – first as an intimate, personal gift to a world leader and subsequently as a prominent public monument – serves to amplify its message significantly. The initial act of presenting the sculpture to President Clinton established a direct, personal connection, symbolising a specific moment of diplomatic engagement and mutual respect. The creation of the larger, public version then translated this symbolism into a language accessible to the entire community and to future generations, embedding the message of peace, heritage, and continuity firmly within Dundalk's urban landscape and civic identity. The enthusiastic public reaction when President Clinton first raised the smaller sculpture to the cheers of the crowd foreshadowed the positive public reception and sense of collective ownership that the larger, permanent piece would come to embody. This progression from private gift to public statement ensures that the commemorative aspect, and the ideals it represents, are not confined to a singular past event but become an enduring and visible part of Dundalk's story.
IV. The Enduring Legacy of the Torc: Ancient Symbolism Reimagined
A. The Celtic Torc: A Relic of Bronze Age Ireland
The Celtic torc, the primary inspiration for Sandra Bell's series of which "Rhythm and Rhyme" is a part, stands as a "beautiful relic of the Bronze Age of Ireland". These remarkable artefacts were typically fashioned by intricately twisting threads of gold or other precious metals, although materials such as bronze, copper, iron, and silver were also employed. Torcs manifested as ornate rings, bracelets, and, most iconically, as necklaces. The classic form is a rigid neck ornament, usually with a distinct opening at the front, though some examples featured clasps or other closure mechanisms. The terminals, or ends, of the torc were often sites of elaborate decoration, sometimes fashioned into animal heads or other intricate designs.
The craftsmanship involved in creating torcs was highly sophisticated. Early methods involved twisting smooth, plaited, or hollow bands of metal, sometimes around an organic core like wood, which would later be removed or decay. Later examples were cast from solid metal or even constructed from hollow tubes. Decorative techniques such as repoussé (shaping metal from the reverse side to create a design in low relief) and chasing (defining details on the front surface) were employed to achieve intricate patterns. The skill of the metalworkers who produced these items was so esteemed in ancient Celtic society that they were held in similar regard to poets, musicians, and druids – the 'men of art'. These objects were worn by Irish royalty and nobility, signifying their elevated position, but also by other men, women, and even children as potent symbols of high status, wealth, and power within their communities. Celtic warriors, in particular, are often depicted or described as wearing torcs, perhaps as much for their symbolic power as for adornment, when going into battle.
B. Symbolism of the Ancient Torc
The ancient Celtic torc was imbued with multiple layers of symbolism. Primarily, it was an unambiguous indicator of the wearer's high status, wealth, and societal standing. Beyond this material significance, torcs held considerable spiritual or religious importance; deities within the Celtic pantheon are often depicted in art wearing or holding torcs, further enhancing their association with power and the divine. They were also incorporated into ritual practices, sometimes being buried in hoards, possibly as spiritual offerings or as part of funerary rites.
Furthermore, torcs were widely believed to function as powerful talismans, offering protection to the wearer against malevolent forces or misfortune. This belief is underscored by their association with warriors. Irish mythology contains compelling narratives featuring magical torcs, such as the tale of Morann the Arbiter, whose torc would tighten around his neck if he delivered a false judgement, thus ensuring his probity. Another story recounts how Dermot MacCerrbheoil, a King of Tara, dreamt of angels taking his torc and gifting it to a stranger, later revealed to be St. Brendan of Clonfert, leading to a royal surrender and emphasising the mystical aura surrounding these objects.
C. Sandra Bell's Torc Series and "Rhythm and Rhyme"
Sandra Bell's sculpture "Rhythm and Rhyme" is explicitly identified as a key work within her "Torc Series". This series, which also includes pieces such as "Torc" and "Converse," demonstrates the artist's sustained engagement with this potent ancient Irish artefact. Bell draws profound inspiration from the historical torc, reinterpreting its distinctive forms and rich meanings for a contemporary audience, thereby bridging millennia of Irish cultural expression.
In "Rhythm and Rhyme," the torc motif is central to its structure and symbolism. The sculpture is described as a torc ring "formed by two intertwined figures, [who] are bound to each other. Their heads of gold look toward and beyond the other". This configuration directly evokes the circular, encompassing, and often open form of the traditional torc. Bell's artistic interpretation imbues this ancient form with new layers of meaning: "The cast bronze form symbolises the continuity of the Irish people – learning from legacy whilst looking toward the future". This concept resonates powerfully with the historical role of some torcs as heirlooms, passed down through generations, thereby symbolising familial and societal continuity. A similar thematic interpretation is evident in another piece from the series, simply titled "Torc," which is also described as "a cast bronze torc ring formed by two intertwined figures...Their golden heads look toward and beyond the other, symbolising the continuity of the Irish people – learning from the legacy but looking to the future". This consistency underscores a coherent conceptual framework underpinning Bell's Torc Series.
By choosing the torc – an object laden with associations of royalty, power, spirituality, and protection – Bell is not merely referencing a historical artefact. She is actively re-inscribing these potent ancient symbols with contemporary meanings of continuity, the importance of legacy, and the necessity of a forward-looking aspiration. This act of artistic reinterpretation ensures that the ancient symbol remains alive and relevant, transforming it from a static museum piece into a dynamic element of contemporary cultural discourse in Ireland.
The "intertwined figures" within "Rhythm and Rhyme" represent a particularly insightful modern evolution of the torc's original physical form. The very name "torc" derives from the Latin "torquis," meaning "to twist," reflecting the primary method of their construction by twisting strands of metal. Bell masterfully translates this physical act of intertwining materials into the symbolic intertwining of human figures. This artistic decision adds a profound layer of human relationship, interconnectedness, and shared destiny to the ancient form, personalising its symbolism. It maintains the visual motif of intertwining that is so central to the torc's identity but re-contextualises it in a figurative and deeply relational manner.
The selection of the torc motif for a sculpture so closely linked to the Irish peace process is especially poignant. Given the torc's historical associations with Irish royalty, warriors, divine protection, and enduring legacy, its use in "Rhythm and Rhyme" can be interpreted as symbolising the safeguarding of a hard-won peace. It may also allude to the inherent strength and sovereignty of the Irish people, celebrated and reinforced by the peace agreement. The overarching theme of "continuity" embodied in Bell's interpretation of the torc aligns seamlessly with the aspiration for a continuous, unbroken era of peace. Furthermore, the "two intertwined figures...bound to each other" could subtly allude to the two main communities in Northern Ireland, or indeed Ireland North and South, being inextricably bound in a shared future – a core objective of the Good Friday Agreement, which President Clinton's visit sought to support.
Ancient Celtic Torc vs. Sandra Bell's "Rhythm and Rhyme" Interpretation
When comparing the Ancient Celtic Torc to Sandra Bell's "Rhythm and Rhyme," several distinctions and parallels emerge.
In terms of Material, ancient torcs were predominantly made of gold, but also bronze, silver, copper, and iron. Bell's "Rhythm and Rhyme" is cast bronze, featuring "heads of gold".
The Form of ancient torcs consisted of rigid neck rings or bracelets, often open or clasped, and frequently adorned with ornate terminals. "Rhythm and Rhyme" takes the form of a torc ring composed of two intertwined human figures.
Regarding Craftsmanship, ancient torcs were made by twisting metal strands, casting, and employing techniques like repoussé and chasing, requiring highly skilled metalworkers. Bell's sculpture is cast bronze using the lost wax method, with patination. The figures are intertwined, echoing the ancient twisting technique.
The Symbolism of ancient torcs encompassed status, wealth, power, royalty, divine connection, protection, magical properties, and continuity through lineage. "Rhythm and Rhyme" symbolises the continuity of the Irish people, learning from legacy while looking to the future, interconnectedness, peace, coastal culture, and Irish heritage.
Finally, the Wearer/Context for ancient torcs included royalty, nobility, warriors, men, women, and children; they were also used as ritual offerings, battle adornment, and heirlooms. "Rhythm and Rhyme" serves as a public sculpture commemorating peace efforts and a presidential visit, a gift to a world leader, and a symbol for the community of Dundalk and Ireland.
V. Form, Material, and Resonance: Deconstructing "Rhythm and Rhyme"
A. Physical Characteristics and Materiality
"Rhythm and Rhyme" is realised in cast bronze, a material Sandra Bell herself describes as "the most lasting of all mediums through which artistic creation is expressed. Its beauty is enhanced with age". This choice of material underscores a desire for permanence and an appreciation for the evolving character that time imparts to bronze. The sculpture stands at a significant, human-scale height of 1700mm (approximately 5 feet 7 inches), or 120 x 150cm according to another source, ensuring a commanding yet approachable public presence.
A defining feature of the sculpture is its patination, described as being "patinated in blue and green hues of the sea". Patination is a meticulous process whereby the surface of the bronze is chemically treated, often involving the application of heat and various chemicals by hand, to achieve specific colours and textures. This technique effectively accelerates the natural oxidation process that bronze undergoes over time, allowing the artist to achieve a desired aesthetic effect from the outset.
B. Symbolism of Form and Colour
The symbolic heart of "Rhythm and Rhyme" lies in its torc-inspired form: "formed by two intertwined figures, [who] are bound to each other". This intertwining is not merely a decorative element but is central to the sculpture's message of interconnectedness, mutual dependence, and the weaving together of past, present, and future.
Adding another layer of symbolic richness are the "heads of gold" that crown the two figures; these "look toward and beyond the other". Gold, the traditional and most highly prized material for ancient Irish torcs, is used here with deliberate specificity. Its application to the heads – the locus of thought, vision, identity, and aspiration – imbues these elements with connotations of enlightenment, intrinsic value, or the preciousness of a bright, shared future. This selective use of gold creates a striking visual contrast with the patinated bronze of the bodies, drawing the viewer's eye and emphasising the forward-looking gaze of the figures.
The distinctive blue and green patination is explicitly stated to "celebrate the coastal town’s culture". Dundalk is a historic seaport situated on Dundalk Bay, an extensive tidal estuary on Ireland's northeast coast. The town's development, character, and heritage are inextricably linked to the sea. Dundalk Bay itself is a significant natural feature, designated as a Special Area of Conservation (SAC) and a proposed Natural Heritage Area, recognised for its ecologically important mudflats, sandflats, salt meadows, and as a habitat for vast numbers of wintering waterbirds. The sea-hued patination thus serves as a direct and evocative visual tribute to this defining aspect of Dundalk's identity.
Collectively, the form and colour of "Rhythm and Rhyme" symbolise "the continuity of the Irish people – learning from legacy whilst looking toward the future". The intertwined figures, bound yet looking outwards and ahead, powerfully convey this dialogue between heritage and progression, between mutual reliance and individual aspiration. The patination is far more than a decorative finish; it is a fundamental element of the sculpture's site-specificity and its local narrative. The deliberate choice of blue and green hues roots "Rhythm and Rhyme" firmly in Dundalk's coastal environment and maritime identity, transforming the sculpture into an engaging conversational piece with its specific location. This aligns perfectly with Sandra Bell's artistic philosophy that her "sculpture naturally compliments its surrounds" , making the colour choice a conscious artistic decision to integrate the work deeply with its Dundalk context and reflect the "ecology of who we are today" in that particular place.
The "golden heads," contrasting with the sea-hued patination of the bronze bodies, serve as a crucial focal point. This contrast likely symbolises the enduring value of vision, enlightenment, or the preciousness of the future. Gold, historically associated with royalty, divinity, and enduring worth in the context of ancient torcs , is here applied to the seat of foresight and aspiration. This creates a powerful visual and symbolic dynamic, emphasising the importance of looking forward with purpose and hope, even while being firmly rooted in one's heritage and environment.
C. Connection to Dundalk's Identity and Environment
The sculpture's connection to Dundalk's identity is multifaceted. As discussed, the sea-hued patination provides an immediate and unambiguous visual link to the town's maritime setting and heritage. Dundalk's very character is said to derive "from its geographical setting...where the land borders the sea". Sandra Bell's stated artistic aim – “Drawing on my Irish heritage and the ecology of who we are today, my sculpture naturally compliments its surrounds” – finds clear expression in this site-responsive colour choice.
"Rhythm and Rhyme" seeks to "meld the past with the present and future in a sustainable, contemporary, and inviting way". Its presence in Dundalk is intended to reflect the town's unique sense of place, linking "ancient Ireland to the modern Ireland of today". The artist's work, more broadly, is described as embodying "the tension between light and dark, the eternal world and natural world, and Christian and Celtic traditions". These complex dualities find a metaphorical home in the intertwined figures of the sculpture.
Indeed, the very form of "Rhythm and Rhyme" – "two intertwined figures...bound to each other" – can be interpreted as a potent metaphor for various dualities and interdependencies particularly relevant to its context. The primary stated symbolism is that of "learning from legacy whilst looking toward the future" , a clear duality of past and future orientation. The figures being "bound to each other" implies an unbreakable connection and mutual influence between these two temporal dimensions. Given the historical context of the sculpture's genesis, linked to President Clinton's visit and the peace process (as explored in Section III), the intertwined figures could also subtly represent the interconnected destinies of the different communities in Ireland striving for lasting peace and reconciliation. Sandra Bell's wider artistic exploration of "harmony and balance" , and the interplay between diverse traditions and worlds , suggests that such dualities, which must be reconciled or held in dynamic equilibrium, are central to her vision. The intertwined form of "Rhythm and Rhyme" serves as a perfect visual metaphor for these complex, interdependent relationships.
VI. Conclusion: "Rhythm and Rhyme" as a Testament to Irish Heritage and Hope
A. Synthesis of Multifaceted Significance
"Rhythm and Rhyme" transcends its identity as a mere public statue to become a rich tapestry of interwoven meanings. It stands as a historical marker, commemorating President Clinton's pivotal visit to Dundalk and his vocal support for the Irish peace process. It is a profound cultural homage, referencing the ancient Celtic torc and celebrating enduring Irish heritage. Furthermore, it is a distinct artistic statement, embodying Sandra Bell's unique sculptural style, her philosophical commitment to harmony and sustainability, and her deep engagement with Irish themes. Finally, it serves as a cherished local emblem, with its sea-hued patination and thematic concerns reflecting and celebrating Dundalk's unique coastal identity. The sculpture’s core message revolves around the vital concept of continuity, fostering a dialogue between the weight of legacy and the promise of the future, and underscoring the fundamental importance of interconnectedness, all powerfully symbolised by its intertwined figures and its grounding in the Torc tradition.
B. Reflection on Irish Culture, History, and Aspirations
Sandra Bell's "Rhythm and Rhyme" successfully encapsulates several key aspects of Irish identity: a deep and abiding respect for history and ancient traditions, coupled with a remarkably resilient and forward-looking spirit. Its intimate connection to the peace process imbues it with the symbolism of hope, reconciliation, and the collective aspiration for a stable, peaceful future – reflecting a crucial and transformative period in modern Irish history. Sandra Bell, as the artist, plays a vital role in interpreting and giving tangible form to these often intangible cultural values and historical currents. By drawing on her "Irish heritage and the ecology of who we are today" , she creates works that resonate deeply within the community and speak to broader human concerns.
The sculpture serves as a successful model of public art that is both deeply rooted in specific local and national heritage while also being universally resonant in its core themes of peace, unity, and the passage of time. Its specific links to Dundalk's coastal environment through its patination , its formal and thematic connection to the Irish Bronze Age torc , and its commemoration of a pivotal moment in the Irish peace process involving President Clinton grant it profound local and national relevance. Simultaneously, its overarching themes – "learning from legacy whilst looking toward the future" , the symbolism of intertwined figures representing unity and mutual dependence, and its association with the universal aspiration for peace – allow it to be understood and appreciated across diverse cultural contexts. This capacity for specific rootedness combined with universal appeal is a hallmark of truly impactful public art.
C. Enduring Impact and Legacy
The enduring impact of "Rhythm and Rhyme" on the community of Dundalk, and its place within the canon of contemporary Irish public art, is significant. Its creation through sustainable processes and materials, a conscious choice by the artist , adds a further layer to its legacy, aligning the artwork with contemporary values of environmental responsibility and foresight.
The title, "Rhythm and Rhyme," ultimately and eloquently encapsulates the sculpture's success in harmonising a multitude of diverse elements: the past and the present, art and history, the local and the global, ancient craft traditions and contemporary artistic vision. The "rhythm" can be perceived in the enduring continuity of Irish heritage, in the cyclical nature of learning from the past to inform the future, and in the ongoing, dedicated process of building and maintaining peace. The "rhyme" emerges in the way the past resonates with and informs the future, how the specific locality of Dundalk connects with broader global narratives through events like President Clinton's visit, and how ancient forms such as the torc find new, vibrant expression in contemporary art. Sandra Bell's artistic practice itself exemplifies this harmonisation, skilfully blending traditional techniques with modern sustainability, and drawing from diverse historical influences to forge a unique and compelling contemporary style.
In its totality, "Rhythm and Rhyme" continues to fulfil the artist's aspiration for her work: to "speak of the Irish myths that bring together family, community, and nature's connection to the divine" and to inspire "respect and to respond in the present". It stands not only as a beautiful object but as a dynamic testament to Irish heritage, a symbol of enduring hope, and a call for continued harmony.
SCULPTURE BY JOHN KINDNESS
AN OLD DUBLINER WOULD UNDERSTAND THIS ART INSTALLATION BY JOHN KINDNESS [LOCATED ON SIR JOHN ROGERSON'S QUAY]
A friend living in the Docklands area mistook John Kindness's art installation on Sir John Rogerson's Quay for a public convenience, a misconception I suspect is shared by many. This brings to mind my own childhood visit to the Gasworks with my grandfather for a supposed "whooping cough cure," a trip that infuriated my mother, a former wartime nurse in London, especially as I was only suffering from a touch of the flu.
Layers of Labour and Lore: John Kindness’s "Gasworks" on Sir John Rogerson’s Quay
I. Introduction: Unveiling "Gasworks" on Sir John Rogerson’s Quay
On Dublin's Sir John Rogerson’s Quay, a striking piece of public art by John Kindness, officially titled "Gasworks" (though occasionally referred to as "Gaswork," for instance in Nicola Gordon Bowe's article in the Irish Arts Review), offers a vibrant commentary on the area's rich history. The designation "Gasworks" appears to be the more formally recognised title, particularly in relation to its commissioning body.
Situated in a historically significant zone for Dublin Port and the city's gas production, the artwork was commissioned in 2012 by Bord Gáis (now Gas Networks Ireland), the state utility responsible for gas infrastructure. Its explicit purpose is to commemorate the gas workers who were integral to this district, immediately linking contemporary public art with the tangible industrial heritage of the quay, which dates back to 1716.
The installation's emergence in 2012 is noteworthy, coinciding with a period of significant regeneration and redevelopment in the Dublin Docklands. The Dublin Docklands Development Authority (DDDA), established in 1997, spearheaded numerous projects aimed at transforming these former industrial landscapes into modern urban spaces. Public art was identified as a crucial element in this revitalisation, intended to enliven the area and weave new cultural narratives into the evolving cityscape. The "Gasworks" sculpture, with its focus on industrial memory, can thus be seen not as an isolated artistic gesture but as an integral part of a broader civic vision. This vision sought to mediate the Docklands' transition from its industrial past to its contemporary identity, acknowledging historical legacies while fostering new meanings and uses for these reclaimed spaces. The commission, therefore, reflects a considered approach to urban renewal, where art plays a vital role in interpreting and honouring the heritage of place. Beyond its commemorative function, the "Gasworks" installation invites an exploration of deeper layers of meaning, including intriguing, though less immediately apparent, connections to local Dublin folklore, which we shall investigate further.
II. John Kindness: An Artist of Social Narrative and Material Wit
John Kindness, born in Belfast, Northern Ireland, in 1951 and a graduate of Belfast College of Art in 1974, has forged a significant artistic career, living and working in both Dublin and London. His body of work is characterised by a versatile engagement with diverse media, predominantly sculpture and painting, where he frequently employs traditional techniques such as mosaic and fresco painting to articulate contemporary concerns. This juxtaposition of venerable methods with modern subject matter is a defining feature of his practice. Kindness is particularly noted for his ability to contrast material, image, and reference in ways that are often unusual and imbued with a distinctive, sometimes dark, humour – a characteristic he himself attributes to a Belfast sensibility.
A consistent thread throughout Kindness's work is his engagement with social and political commentary, historical narratives, and what he terms the "detritus of human life". He possesses a unique ability to elevate the everyday, finding epic qualities in mundane objects or overlooked histories. This is perhaps most famously exemplified in his Treasures of New York series, created during a residency at P.S.1 in New York in the early 1990s. In these works, contemporary scenes, stylistically modelled on Athenian ceramics, are painted onto salvaged panels from New York City yellow cabs, thereby equating the vernacular of modern urban existence with the gravitas of classical antiquity. This approach suggests a recurring artistic preoccupation with an "archaeology of the present," treating recent social histories and contemporary artefacts as though they were ancient relics awaiting interpretation.
The influence of James Joyce is explicitly cited by Kindness, particularly Joyce's method of constructing layers of meaning and discovering profound literary potential within the seemingly insignificant ephemera of daily life. This resonates deeply with Kindness's own artistic strategies. His 2012 Odyssey exhibition, for instance, further demonstrated this Joycean affinity, reinterpreting Homer's epic through contemporary forms and materials, such as rendering the hazards of Scylla and Charybdis on a toilet seat.
His use of tiles and mosaic is particularly prominent and directly relevant to the vitreous enamel panels of the "Gasworks" installation. He often deploys these materials, with their domestic and sometimes static connotations, to depict dynamic and epic subjects, creating a compelling tension. This interest in the enduring quality of such materials aligns with his stated desire to create "unique and physically tangible works of art" that resist the ephemerality of modern media images.
Several of Kindness's other public works provide essential context for understanding "Gasworks." The Big Fish (1999) on Donegall Quay, Belfast, a 10-metre long ceramic mosaic sculpture, is a landmark piece. Its "skin" is composed of tiles decorated with texts and images relating to Belfast's history, including contributions from local schoolchildren, and it even contains a time capsule. Commissioned to celebrate the regeneration of the River Lagan, it shares thematic concerns with "Gasworks" in its commemoration of local history, its use of ceramic-based media, and its integration of textual and visual narratives to articulate a sense of place. Similarly, The Labor Monument: Philadelphia's Tribute to the American Worker (2010) in Elmwood Park, Philadelphia, which commemorates organised labour and the city's working-class history, underscores Kindness's sustained interest in labour narratives and the creation of public art that functions as an "outdoor history lesson".
Kindness's formative years and early career in Belfast, a city profoundly marked by social and political division and subsequent efforts at regeneration, have undoubtedly shaped his artistic vision. His early involvement with satirical magazines like "The Peoples Comic" during the Troubles demonstrates an early inclination to use art as a vehicle for social commentary, even if, as he noted, it was primarily "a matter of staying afloat and these satires were the weapons that protected our own dignity". Furthermore, his personal connection to industrial labour, with his father having been a shipyard "driller," provides an authentic foundation for his respectful and nuanced depictions of working-class histories. This background makes him an artist particularly attuned to the complexities of local narratives, collective memory, and the crucial role of public art in shaping and reflecting identity within transforming urban landscapes like the Dublin Docklands.
III. The "Gasworks" Installation: Artistic Vision and Industrial Homage
The "Gasworks" installation on Sir John Rogerson's Quay is a visually striking piece, realised in vitreous enamel panels. This material, a glass-like coating fused to metal, is renowned for its durability, vibrant colour retention, and historical use in both utilitarian signage and decorative arts, making it an apt choice for a public artwork intended to endure and engage. Trico VE Ltd, a specialist firm in vitreous enamel, lists the "Dublin Gasworks - Public Art" by John Kindness as one of their projects, providing photographic evidence of the work. Images available through Alamy and Trico VE depict a long, low-lying structure composed of multiple panels. These panels are adorned with Kindness’s characteristic cartoonish, stylised figures and integrated text, narrating stories presumably related to the gas industry and the lives of its workforce. The figures are depicted in various activities, rendered in a bright and diverse colour palette that is typical of vitreous enamel's capabilities.
A particularly intriguing aspect, noted in public discourse, is the suggestion that the artwork incorporates or is built around a functional vent, possibly related to the historical gas infrastructure beneath the quay. If accurate, this physical integration of an industrial remnant into the artwork would be a sophisticated manifestation of Kindness's declared interest in the "detritus of human life" and his practice of giving "new life" to "well-used objects" or existing site conditions. Such an approach would transform a piece of latent infrastructure into an active component of the commemorative sculpture, directly embedding the artwork within the physical legacy of the site.
The conceptual framework of "Gasworks" is primarily rooted in the commemoration of the history of gas workers specific to the Sir John Rogerson’s Quay area. This thematic focus aligns seamlessly with Kindness's established artistic concerns, particularly his exploration of labour history, as seen in The Labor Monument, and his consistent engagement with local narratives. The notion of the "gas man" is central, and the artwork likely aims to personify, celebrate, or recount the experiences of these individuals. Kindness's poignant recollection of his father, a shipyard worker, and the "mosaic of metal shavings embedded in the soles of his boots" suggests a profound personal empathy and respect for industrial labour, which would undoubtedly inform his artistic approach to honouring the gas workers of Dublin.
Furthermore, Kindness’s philosophy regarding public art—his conviction that art should be relevant to the "vast majority of the population" and not confined to the rarefied atmosphere of galleries and museums—is palpably realised in "Gasworks." The installation's accessible location and narrative style are designed to engage directly with the community and the specific character of the place. The choice of vitreous enamel, akin to his use of mosaic, reflects a desire to create "unique and physically tangible works of art" that possess a permanence and speak "volubly several millennia after their creation," in stark contrast to the fleeting nature of contemporary media images. The material itself, often associated with robust industrial applications and public signage, subtly reinforces the industrial theme while providing a vibrant and lasting medium.
The commissioning of "Gasworks" by Bord Gáis in 2012 is a significant aspect of its provenance. As the state-owned gas utility, Bord Gáis's patronage signifies an official endorsement of this act of commemoration, linking the modern energy corporation with the historical lineage of the gas industry in Dublin. This connection is further evidenced by image tags on Alamy and the reference to "Board Dais" (a likely misspelling of Bord Gáis) by Trico VE. This corporate involvement underscores the artwork's role not only as an artistic statement but also as a piece of civic memory sanctioned by the industry's successor.
IV. Whispers from the Past: Dublin Folklore and the Gasworks Environs
The historical fabric of Sir John Rogerson’s Quay is deeply interwoven with the story of Dublin's gas industry. The Dublin Gas Company itself was formally established by an act of parliament in 1820, and by 1824, the city was home to three operational gasworks. Sir John Rogerson’s Quay, originally laid out in the early eighteenth century and substantially rebuilt in the 1820s and again in 1869, became a pivotal location for this burgeoning industry. The Dublin Gas Act of 1883 specifically facilitated the company's acquisition of property along the quay, which was strategically important for servicing colliers that transported coal to the nearby gas works at Hanover Quay. Initially, the gas produced was primarily for public and private lighting, gradually supplanting oil and candles, with Dublin boasting 3,750 gas lamps by 1884. Over time, the manufacturing process evolved, shifting from coal to petroleum and naphtha as feedstocks. The industry also became embedded in the city's social memory through figures like the "glimmer man," an officer of the Dublin Gas Company tasked with enforcing gas usage restrictions during the Second World War.
Beyond the official and industrial history, the environs of gasworks in Dublin, as in many other industrialised urban centres, became entwined with fascinating local folklore, particularly concerning health and healing. A widespread and persistent folk belief held that inhaling the fumes emanating from gasworks possessed therapeutic properties, especially for respiratory ailments like whooping cough (pertussis). This practice was not unique to Dublin; similar beliefs were documented across England, Scotland, and the United States during the nineteenth and early twentieth centuries.
The potency of this belief in Dublin is vividly captured in James Joyce's Ulysses. In a passage set in 1904, Leopold Bloom, passing near the Great Brunswick Street gasworks, reflects, "Whooping cough they say it cures". This literary reference provides a significant anchor, attesting to the currency of this folk remedy in Dublin at the turn of the twentieth century. Contemporary medical and observational texts also acknowledged this popular practice. The Journal of Practical Medicine and Surgery in 1864, for instance, noted that gasworks exhalations, despite often being a source of complaint for local residents, had "become a popular remedy for whooping-cough". Similarly, the Stirling Natural and Archaeological Society proceedings for 1882-3 mentioned the inhalation of fumes from gas purifiers as an established popular treatment.
Further compelling evidence comes from the invaluable Schools' Manuscript Collection, compiled in 1937-38, where Irish schoolchildren recorded folklore from their communities. An entry from Kildraught National School, Celbridge, County Kildare, under the heading "Whooping Cough," explicitly states: "Keep the child near a gas works". This direct testimony from the period underscores the persistence of the belief. Personal accounts also reinforce this tradition; Anne Hailes, writing in The Irish Times in 2023, recounted a family story of her mother and aunt being "dangled over the fumes from the burning coke" at a gasworks as children to treat their whooping cough.
While the specific term "cough hole," as mentioned in some accounts, or analogous terms like "coughing pit" or "fume hole" are not explicitly found in the provided research materials directly associated with Dublin gasworks, the underlying practice is clear. The "cough hole" likely refers colloquially to any accessible area within or near the gasworks where individuals, particularly children, could inhale the fumes. This is conceptually similar to documented practices of holding a child's head in a freshly dug hole in the earth to breathe its emanations for whooping cough, a cure reported in Essex and County Fife. The gasworks itself, therefore, became a site of this specific form of folk medicine.
Given John Kindness's profound and demonstrated interest in unearthing local narratives, social histories, and embedding layers of meaning within his work, it is highly probable that he would have been aware of, or would have researched, such a potent and site-specific piece of folklore connected to the very subject of his commission. The "Gasworks" sculpture, by its very act of commemorating the gas workers and the industrial site, inherently touches upon all associated histories and memories, including these folkloric health beliefs. The stylised figures and textual elements within the artwork could subtly allude to these practices or, more broadly, to the complex atmosphere and reputation of the gasworks, which extended far beyond mere industrial production. The artwork thus has the potential to act as a mnemonic trigger, bringing these submerged or half-forgotten local histories and beliefs to the surface.
This folkloric dimension represents a fascinating intersection of industrialisation and popular belief, where a by-product of heavy industry—polluting fumes—was paradoxically reinterpreted by communities as possessing therapeutic qualities. Kindness's "Gasworks," in memorialising the site and its workers, indirectly brings this ambivalent historical relationship to light. The sculpture, therefore, does not merely celebrate labour; it evokes the entire socio-cultural aura of the historical gasworks, a place perceived dually as a source of environmental concern and a site of potential, albeit unscientific, healing. The figures of the "glimmer man" and the folkloric "cough hole" tradition, though distinct, both illustrate the pervasive ways in which the gasworks and its products permeated the daily lives and popular imagination of Dubliners. By focusing on the "gas man" (the worker), Kindness's art taps into this rich seam of collective memory, where "gas" was a powerful and multifaceted presence in Dublin's story, encompassing both official regulation and informal folk practices.
V. Critical and Public Engagement: Reactions to "Gasworks"
The unveiling of a significant public artwork often elicits a spectrum of responses, from scholarly critique to everyday public observation. John Kindness's "Gasworks" installation appears to have garnered attention on both these fronts, reflecting its presence in Dublin’s cultural and urban landscape.
A key piece of expert commentary identified is the article titled "Gaswork" by the distinguished art historian Nicola Gordon Bowe, published in the Autumn 2012 issue (Volume 29, No. 3) of the Irish Arts Review. The Irish Arts Review also carried a preview for an article "John Kindness: Rewriting Art History" in the same edition. Nicola Gordon Bowe was an exceptional scholar with a profound understanding of Irish art, design, and craft, known for her meticulous research and her efforts to bring recognition to often-overlooked areas of Irish visual culture. Her decision to write about Kindness's "Gasworks" is significant; it suggests that the installation was perceived as possessing qualities worthy of serious art historical consideration, likely relating to its innovative use of materials (vitreous enamel), its narrative depth, and its meaningful engagement with Irish social and industrial history—themes that resonated with Bowe's own scholarly interests. Her engagement elevates the work beyond a simple commemorative commission, situating it within a broader discourse on contemporary Irish art and its connection to heritage. Access to the full text of Bowe's article would undoubtedly provide deeper insights into the specific critical reception of the piece from a leading expert in the field.
Public perception and interaction with "Gasworks" are also evident, albeit through more informal channels. A Reddit thread from 2023 (posted approximately ten months prior to May 2024) reveals ongoing public curiosity about the sculpture. One contributor correctly identified the artwork by its title ("Gaswork"), the artist (John Kindness), and its commissioning by Bord Gáis in 2012, even providing a link to an Irish Independent article (though the content of this article remains inaccessible through the provided snippets). This indicates a degree of public awareness and access to information regarding the artwork's provenance.
Another comment within the same Reddit thread offers a more anecdotal interpretation, with a user who works on the River Liffey describing the installation as "a vent" and noting, "I still can't get a straight answer of what it actually vents but it's owned by Board Gais, who commissioned the art around it. There might still be old tanks left underground from when the gasworks was in operation so that probably explains it". This observation is particularly telling. It highlights how public art, especially when integrated into historically charged industrial sites, can stimulate local observation and interpretation that connects directly to the site's past uses. The comment underscores a dynamic where the artwork is appreciated visually while also prompting questions about its literal function or deeper, perhaps unseen, connections to the industrial legacy of ...the area, such as the posited old gas tanks. This suggests the artwork is successfully functioning as a catalyst for memory and curiosity, prompting viewers to consider the layers of history beneath the contemporary surface of the Docklands.
The role of Bord Gáis (now Gas Networks Ireland) as the commissioning body is crucial. Their decision to fund "Gasworks" was likely multifaceted, aiming to commemorate the heritage of the gas industry and its workforce, particularly given the artwork's location on a site with direct historical links to gas production. This initiative aligns with a broader pattern of Bord Gáis's engagement in arts and cultural sponsorship during that period. Notably, the Grand Canal Theatre was officially renamed the Bord Gáis Energy Theatre in March 2012, the same year "Gasworks" was commissioned. This concurrent activity suggests a strategic effort by the company to cultivate a public profile through cultural investment, using art and entertainment to connect with the community and acknowledge Ireland's heritage.
While extensive online discussions on platforms like boards.ie or Flickr within the 2012-2013 timeframe were not prominently found in the research snippets, this does not necessarily indicate a lack of public interest. It may reflect the specific search parameters or the platforms where such discussions typically occur. The presence of the artwork in stock photography, consistently captioned with its commemorative purpose, further confirms its status as a recognised public feature. The artwork seems to have settled into the urban fabric, observed and questioned by those who encounter it, fulfilling a role as a site for reflection on the area's industrial and social past.
VI. Conclusion: John Kindness’s "Gasworks" – A Layered Urban Narrative
John Kindness’s "Gasworks" installation on Sir John Rogerson’s Quay emerges from this investigation as a multifaceted public artwork, rich in historical resonance and artistic ingenuity. Commissioned by Bord Gáis in 2012, the piece employs vibrant vitreous enamel panels to fulfil its primary role: the commemoration of the gas workers and the significant industrial heritage of this specific Dublin locale. Kindness’s distinctive artistic approach—characterised by a blend of humour, intricate narrative, profound historical reference, and the innovative use of traditional materials for contemporary thematic exploration—is fully evident in this work. The stylised figures and textual elements invite viewers to engage with the stories of labour and life that defined the area's past.
The significance of "Gasworks" is deepened considerably by its connection to local Dublin folklore, particularly the historical belief that fumes from the gasworks held healing properties for respiratory conditions like whooping cough. While direct, explicit allusions to the "cough hole" or similar folkloric practices within the artwork's imagery require further detailed visual analysis or statements from the artist, the very context of a gasworks-themed sculpture in this historic location inevitably imbues it with this additional layer of cultural meaning. The installation, therefore, acts as a powerful mnemonic trigger, capable of surfacing these submerged or fading local histories and beliefs, adding a poignant dimension to its commemorative function. It stands as a reminder that industrial sites were not merely places of production but also deeply embedded in the popular imagination and daily lives of communities, sometimes in paradoxical ways.
In the broader context of contemporary Irish public art, "Gasworks" serves as a compelling example of how artistic intervention can contribute to urban regeneration efforts, not by erasing the past, but by reinterpreting it and preserving crucial aspects of industrial memory. Within the rapidly transforming landscape of the Dublin Docklands, the sculpture insists on the enduring presence and value of working-class history and local narratives. It subtly challenges a purely modernist or commercially driven vision of redevelopment by anchoring the contemporary public realm in the specific, often gritty, realities of its past.
Ultimately, John Kindness’s "Gasworks" succeeds in weaving together multiple strands of meaning. It functions as an official commemoration, sanctioned by the successor to the historical gas industry; an example of artistic innovation, showcasing Kindness’s unique visual language and material sensibility; a marker of deep local history, tied to the physical site of the former gasworks; and a resonator of rich folkloric undercurrents that speak to the complex relationship between industry, environment, and community health beliefs. More than a simple monument, "Gasworks" stands as a layered urban narrative, a complex cultural marker that invites ongoing reflection on the diverse histories that have shaped Sir John Rogerson’s Quay and the city of Dublin itself. The decision by Bord Gáis to commission such a piece suggests a sophisticated engagement with corporate heritage, using art as a bridge between the industrial past and the contemporary energy landscape, fostering a connection with the community by acknowledging and validating its multifaceted history.
SCULPTURE BY BOB QUINN
THE BEST NIGHT EVER BY BOB QUINN [BOTANIC GARDENS 3 MAY 2025]
I visited the Botanic Gardens today because I wanted to test my new Sony 16-35mm lens but unfortunately I am still waiting for the Sony A1 II camera body to arrive so I used an FX30. I paid for the A1 in full well before Christmas 2024 and this weekend I was told that it may not arrive until June or July,
I have photographed this sculpture many times as it is one of my favourites.
It’s worth noting that I have encountered another copy of this sculpture in City West. Unfortunately, the last time I tried to photograph the one in City West, I was informed by security, who shadowed me for about fifteen minutes, that I was on private property and that photography was prohibited. I was asked to leave immediately, and my policy is not to argue.
Born in 1948, Bob Quinn enjoyed a long career in the Irish advertising business as a commercial artist, designer, and the head of a successful design and production company. He now works full time as a sculptor in Blackrock, Co Dublin, where he lives with his wife and two daughters.
The Sony FE 16-35mm F2.8 GM II has been described as a truly magnificent piece of glass! It is considered to be a top-tier wide-angle zoom known for its incredible sharpness, beautiful bokeh (for wide-angle!), and robust build quality. It's a lens that many full-frame Sony shooters dream of.
Now, let's talk about pairing it with a Sony FX30, which, as you may already know, has an APS-C (crop) sensor. While one can certainly use the 16-35mm GM II on an FX30, you're not experiencing its full potential, particularly when it comes to achieving that wide-angle perspective and some of the other characteristics it's designed for.
1. Loss of the Ultra-Wide Angle of View:
The most significant impact is the crop factor. The FX30 has a crop factor of approximately 1.5x. This means that the 16-35mm lens will behave like a 24-52.5mm lens in terms of its angle of view.
You're losing that valuable ultra-wide perspective that the 16mm end offers on a full-frame camera. That expansive view, perfect for landscapes, architecture, and creating a sense of immersion, is significantly narrowed.
While 24mm is still a useful wide-angle, it's not the same as the dramatic perspective you'd get at 16mm on a full-frame body.
2. Different Depth of Field Characteristics:
While the f/2.8 aperture remains the same, the effective depth of field will be slightly deeper on the FX30 compared to a full-frame camera at the same aperture and equivalent focal length. This means it might be a little harder to achieve that very shallow depth of field and strong subject isolation that the f/2.8 aperture is capable of on a full-frame sensor, especially at the wider end.
3. Utilizing Only the Central Portion of the Lens:
The 16-35mm GM II is designed to project an image circle large enough to cover a full-frame sensor. When used on the smaller APS-C sensor of the FX30, only the central portion of that image circle is being utilised. While the centre of a lens is often its sharpest part, you're not taking advantage of the lens's overall design and how it performs across the entire frame.
4. Cost Efficiency:
The FE 16-35mm F2.8 GM II is a premium lens with a price tag to match. For stills photography specifically on an APS-C system, there are excellent and often more cost-effective wide-angle lenses designed specifically for that sensor size. These lenses would offer a similar (or wider) field of view without the added cost and size associated with a full-frame lens.
Why Professional Reviewers Might Not Recommend it for FX30 Stills:
Field of View Limitations: For many stills photographers, especially those specialising in landscapes or architecture, the ultra-wide perspective is crucial. The cropped field of view on the FX30 negates this key advantage of the 16-35mm.
Ergonomics and Balance: While the 16-35mm GM II isn't excessively large, it's designed for full-frame bodies. On the more compact FX30, it might feel slightly front-heavy and less balanced than a lens designed for APS-C.
Overkill for the Sensor Size: The advanced optical design and build quality of the GM II series are often aimed at extracting the maximum performance from a high-resolution full-frame sensor. While the FX30 has a capable sensor, it might not fully resolve the subtle nuances that the GM II is capable of delivering across a full frame.
However, it's not all doom and gloom! There are reasons why you might be using this lens on your FX30:
Future Full-Frame Upgrade: If you plan to move to a full-frame Sony camera in the future, investing in high-quality full-frame lenses like the 16-35mm GM II now makes perfect sense. It's a future-proof investment.
Video Work: The 16-35mm GM II is an exceptional lens for video, offering a versatile wide-to-standard zoom range and a constant f/2.8 aperture, which is invaluable for maintaining consistent exposure during filming. The stabilisation and autofocus performance are also top-notch for video. Since the FX30 is primarily a cinema camera, this lens is a fantastic match for its video capabilities.
Specific Shooting Style: Perhaps your stills work on the FX30 benefits from the 24-52.5mm equivalent range. For certain types of portraiture, street photography, or event coverage, this range can be very useful.
BY EILIS O'CONNELL
DIPPING THE OTHER WING 2024 BY EILIS O'CONNELL R.H.A. [I USED A ZEISS BATIS 25MM LENS]
Unveiled in November 2024, "Dipping the Other Wing" by Eilis O'Connell RHA is a significant addition to Dublin's public art landscape. Situated prominently in Mary Lavin Place within the newly redeveloped Wilton Park, this large-scale sculpture immediately commands attention through its material presence and dynamic form. Crafted from mirror-polished stainless steel and measuring 350 x 140 x 150 cm, the work presents an abstract, biomorphic shape that engages with its surroundings.
Its significance extends beyond its physical attributes. Commissioned by IPUT Real Estate Dublin as a centrepiece for their Wilton Park regeneration project, the sculpture is deeply embedded within a specific context. It occupies a site uniquely dedicated to the memory of the acclaimed Irish writer Mary Lavin (1912-1996), who lived nearby and featured the park in her work. Indeed, the sculpture's very title and conceptual origin derive directly from Lavin's 1967 short story, "One Evening". Furthermore, the creation of "Dipping the Other Wing" involved an innovative fabrication process, utilising Wire Arc Additive Manufacturing (WAAM), a form of 3D printing in metal, highlighting a confluence of artistic vision and advanced technology.
This analysis will examine the interplay between Eilis O'Connell's established sculptural practice, the specific literary inspiration drawn from Mary Lavin, the unique commemorative and cultural context of its site within Wilton Park, the objectives of the commissioning body, and the technological means employed in its production. The following sections will delve into the artist's background and style, the significance of the location and IPUT's cultural strategy, the translation of Lavin's text into sculptural form, the materiality and fabrication process, and finally, a synthesis of the work's overall significance.
The importance of "Dipping the Other Wing" emerges most clearly from its role as a nexus point where multiple cultural, historical, and technological threads converge. It represents more than just a contemporary sculpture; it embodies the intersection of established artistic practice with literary heritage, serves as a landmark act of female commemoration in Irish public space, functions within a broader strategy of urban regeneration and corporate cultural investment, and showcases the application of cutting-edge manufacturing techniques in the service of art. Its meaning is constructed through these layers of context and connection, exemplifying a contemporary approach to public art where significance is derived not solely from inherent form but from a rich dialogue with its surroundings and history.
The Sculptor: Eilis O'Connell RHA – Material Investigations and Organic Forms
The creator of "Dipping the Other Wing," Eilis O'Connell, is one of Ireland's most internationally recognised contemporary sculptors. Born in Derry, Northern Ireland, in 1953, her artistic education took place at the Crawford School of Art in Cork and the Massachusetts College of Art, Boston. Her career has been marked by prestigious awards and residencies, including fellowships at The British School at Rome and P.S.I. in New York, and a significant residency at Delfina Studios which led to her being based in London until 2001 before returning to Ireland. O'Connell has represented both Ireland and the UK at major international exhibitions, including the Venice, Paris, and São Paolo Biennales, with works also shown at the Guggenheim Museum in Venice. Her standing within the Irish art establishment is confirmed by her roles as a founder director of the National Sculpture Factory in Cork, a former member of the Arts Council of Ireland, and her membership in both Aosdána and the Royal Hibernian Academy (RHA) – the latter affiliation explicitly acknowledged in the titling of the Wilton Park sculpture.
O'Connell's artistic practice is characterised by a deep and sustained investigation into the properties of materials. Her extensive oeuvre demonstrates a mastery over traditional sculptural media like steel, bronze, and stone, alongside an innovative exploration of newer materials such as bio resins, jesmonite, polycarbonate sheet, carbon fibre, and even less conventional elements like fibre optics and steam. This material curiosity serves her creation of forms often described as "hybrid organic geometric". A defining feature of her style is a tendency to eschew rigid, rectilinear geometry, favouring instead forms that possess an organic, biomorphic, or sometimes fractal-like quality. These forms often seem to draw inspiration from the natural world – nests, corals, leaves, geological formations – but are equally informed by scientific concepts, geometry, and even microscopic or molecular structures, such as her engagement with the work of Nobel laureate Ernest Walton or neuroscientist Santiago Ramón y Cajal.
Scale is another critical dimension of O'Connell's work, ranging from intimately sized gallery pieces to monumental public commissions that punctuate landscapes and urban environments across Ireland, the UK, and beyond. Regardless of scale, her sculptures often exhibit a dynamic relationship with space. Rather than being heavily rooted, many seem to possess a lightness, appearing to soar, balance precariously, or only gently touch the ground. This quality is frequently enhanced by her meticulous attention to surface, exploring varied patinations or, as in "Dipping the Other Wing," achieving highly polished finishes that interact with light and environment. O'Connell speaks of considering air itself as a material to be sculpted, a challenge particularly evident when working with solid materials like stone or metal. Her process involves both hand-carving and construction techniques, sometimes in collaboration with specialist artisans, reflecting a blend of direct manipulation and facilitated production.
"Dipping the Other Wing" coherently aligns with this established artistic trajectory. Its designation as an "abstract biomorphic form" directly reflects her preference for organic, non-rectilinear shapes. The choice of mirror-polished stainless steel is consistent with her long-standing exploration of metals and surface treatments. Furthermore, her stated intention for the sculpture to capture "motion and emotion" and to "engage the surroundings" resonates with her career-long interest in dynamism, spatial relationships, and the interaction between artwork and environment.
Examining O'Connell's body of work reveals a consistent dialogue between the natural or organic world and the realms of science and technology. "Dipping the Other Wing" serves as a potent example of this synthesis. The sculpture's form is explicitly biomorphic, inspired by the fluid movement of a bird's wing or a cyclist's turn as described in Lavin's prose. Yet, this organic sensibility is realised through a highly advanced, digitally driven manufacturing process – Wire Arc Additive Manufacturing. This juxtaposition is not merely incidental; it reflects a core characteristic of O'Connell's practice, where natural forms and scientific or technological means are brought into productive tension, each informing the other. The sculpture is thus not simply an organic form, but one mediated and made possible by contemporary technology.
Moreover, O'Connell's extensive experience with public art commissions provides a crucial backdrop. Her statement regarding "Dipping the Other Wing" – that it is her first piece designed specifically for a park setting and her consequent desire to "reflect the intimacy of that space" by creating something that "engages the surroundings and wants to be touched" – suggests a particularly nuanced approach to this specific commission. While adept at responding to diverse public contexts, the unique environment of Wilton Park appears to have prompted a focus on integration, intimacy, and potential interaction distinct from works created for more formal architectural or corporate settings. This indicates an evolution or refinement in her approach to site-specificity, tailored to the unique character of a green, publicly accessible park space.
The Setting: Wilton Park and the Commemoration of Mary Lavin
The genesis of "Dipping the Other Wing" is inextricably linked to its specific location and the vision of its commissioners, IPUT Real Estate Dublin. The sculpture was commissioned as a key cultural element within IPUT's ambitious project to redevelop and restore the one-acre Wilton Park, a historic green space overlooking Dublin's Grand Canal between Leeson Street and Baggot Street bridges. Completed and opened to the public in October 2024, the revitalised park offers restored Victorian features like the fountain, alongside new amenities including seating, lawns, paths, and planting designed to enhance biodiversity. IPUT envisioned the park not merely as a passive green area but as an active public venue for cultural events, exhibitions, and performances.
Central to this redevelopment is the creation of Mary Lavin Place, the specific location of O'Connell's sculpture. This new public square holds considerable cultural significance as the first public space in Ireland explicitly named in honour of an Irish female writer. The choice of Mary Lavin was particularly resonant given her personal history with the area; she lived for many years at No. 11 Lad Lane, a street now directly linked by the square to Wilton Park. The surrounding neighbourhood, known historically as Baggotonia, boasts deep literary connections, having been home to writers such as Brendan Behan and Flann O'Brien, further enriching the context. The cultural weight of this dedication was underscored by the square's official launch by the Laureate for Irish Fiction, Colm Tóibín.
The commission of "Dipping the Other Wing" should be understood within IPUT's broader, multifaceted strategy for embedding arts and culture within the Wilton Park development, a strategy explicitly linked to "placemaking". This cultural investment extends beyond the sculpture to include several key initiatives: the establishment of three permanent, rent-free artist studios in partnership with the RHA; the creation of a Writer-in-Residence program, complete with an apartment, with the inaugural resident, Naoise Dolan, selected by Colm Tóibín; the integration of art into the public realm through features like a statement ceiling by stained-glass artist James Earley and art-displaying photo benches; and the forging of partnerships with major cultural institutions like the RHA, the National Concert Hall, and the Graphic Studio Gallery to facilitate future programming. Notably, IPUT had previously collaborated with Eilis O'Connell on an augmented reality sculpture experience within Wilton Park, suggesting an existing relationship and perhaps paving the way for this permanent commission.
The deliberate and comprehensive nature of IPUT's cultural initiatives indicates that the sculpture commission was not an isolated gesture but an integral part of a strategic approach to "cultural place-making". This strategy appears aimed at enhancing the identity, cultural vibrancy, and overall appeal of the Wilton Park development, suggesting an understanding of culture as a significant contributor to the value and perception of place within a commercial real estate context. The naming of Mary Lavin Place, involving a reported investment of €1.6 million, and the commissioning of a major sculpture by a renowned artist work in tandem to achieve these place-making goals.
Furthermore, the specific decision to name the square after Mary Lavin, and the explicit highlighting of this being the first such public space dedicated to a female writer in Ireland, carries significant weight. In a city whose public spaces have historically commemorated men far more frequently than women, this act represents a conscious effort to address a historical imbalance in public recognition. IPUT's emphasis on this "first" in their communications suggests an awareness of this disparity and an intention to contribute positively to redressing it. The sculpture, commissioned "in memory of the writer Mary Lavin", thus becomes a prominent physical embodiment of this corrective and commemorative impulse, leveraging the platform of a major urban development to make a statement about cultural heritage and gender representation.
Literary Genesis: Translating Mary Lavin's "One Evening" into Sculpture
The conceptual heart of "Dipping the Other Wing" lies in its direct engagement with the work of Mary Lavin (1912-1996), an acclaimed Irish writer celebrated for her mastery of the short story form. Although born in Massachusetts, Lavin spent most of her life in Ireland, particularly Co. Meath, and her fiction often explores the nuances of ordinary Irish life, particularly the experiences of women within the middle-class milieu of the mid-twentieth century. Her stories delve into themes of memory, grief, solitude, the complexities of familial and community relations, and the subtle struggles for freedom within social and domestic constraints. Lavin herself had connections to the Wilton Park area, having lived nearby and, crucially, having described the park in her writing. Like O'Connell, Lavin was also associated with the Royal Hibernian Academy, listed as a member in one historical overview.
The specific source of inspiration for O'Connell's sculpture is Lavin's short story "One Evening," published in 1967. The sculpture's title is taken directly from a vivid passage describing a boy cycling with speed and agility towards Wilton Place: "He put his head down over the handlebars, and the bicycle, obedient to the thrust of his narrow thighs, seemed to dip a wing as it swept into Wilton Place."
Eilis O'Connell explicitly articulated her attraction to this particular text, citing its "beautiful description of motion and emotion" as a key point of inspiration. Her artistic response involved translating this literary moment not through literal representation, but through abstraction. She aimed to create an "abstract biomorphic form" that would capture a "similar biomorphic presence" to the dynamic energy conveyed in Lavin's prose. The sculpture seeks to embody the fluidity, the sweep, and the kinetic grace suggested by the phrases "dips a wing" and "swept into Wilton Place," evoking the feeling of movement rather than depicting the cyclist or the scene itself. This interpretation aligns with O'Connell's desire for the sculpture to actively "engage the surroundings," much like the cyclist interacts dynamically with the streetscape described by Lavin.
The process of creating "Dipping the Other Wing" thus involved a significant act of translation – moving from a specific, kinetic narrative moment captured in words to a static, abstract, three-dimensional object. O'Connell chose not to illustrate Lavin's scene but to abstract its essential qualities: the dipping, turning, sweeping motion and the associated sense of fluid energy. The resulting "biomorphic" form can be understood as an attempt to give physical shape to the organic quality of this movement, capturing its dynamism in polished steel. This abstraction allows the sculpture to resonate with the feeling of Lavin's description rather than being tied to a literal depiction.
Furthermore, the decision to ground the sculpture in such a specific textual and geographical reference profoundly deepens its commemorative function. By selecting a line from a story that explicitly mentions Wilton Place, the very location of the artwork, O'Connell creates a powerful and resonant dialogue between Lavin's literary observation of the past and the sculpture's physical presence in the present. This specificity elevates the tribute beyond a generic memorial, anchoring it directly in Lavin's creative output and her connection to the site. It weaves together the place, the author, her specific words, and the contemporary artwork into a tightly knit loop of meaning, making the commemoration richer and more layered than a simple dedication could achieve.
Materiality and Method: The Making of "Dipping the Other Wing"
The physical presence and visual impact of "Dipping the Other Wing" are largely defined by its material: stainless steel meticulously polished to a mirror-like finish. This choice of surface treatment is crucial to the sculpture's interaction with its environment. In the open setting of Mary Lavin Place within Wilton Park, the mirror finish actively draws in the surroundings – reflecting the changing sky, the adjacent trees and lawns, the movements of people, and the architectural elements of the redeveloped park. This reflectivity has the potential to visually dematerialise the sculpture's considerable mass (3.5 metres in height), making it appear lighter and more fluid, consonant with O'Connell's documented interest in creating forms that seem to soar or possess an airy quality. The polished surface directly facilitates her stated aim for the work to "engage the surroundings," transforming the sculpture into a dynamic entity that constantly shifts with variations in light, weather, and activity.
The realisation of this ambitious work involved a collaboration between the artist, Eilis O'Connell, and the technical expertise of Factum Arte and Kaparos Fine Art Foundry. Photographic evidence suggests the final stages of fabrication, including polishing, took place at the Kaparos foundry located in Greece. A key aspect of the production was the employment of an innovative technology: Wire Arc Additive Manufacturing (WAAM).
WAAM, a form of large-scale metal 3D printing, was used to fabricate the sculpture in sections using stainless steel filament. The decision to use this method was driven by practical considerations, specifically its potential to reduce production times and minimise material waste compared to more traditional manufacturing processes like casting or subtractive machining. Once the individual sections were printed, they were carefully welded together to form the complete structure. The final, critical stage involved the painstaking process of polishing the welded assembly to achieve the seamless, highly reflective mirror surface, noted as a particular specialty of the Kaparos foundry. Images documenting the WAAM process, the welded sections prior to finishing, and the polishing stage provide insight into this complex fabrication journey.
The selection of WAAM technology appears instrumental not just for efficiency, but for enabling the specific combination of complex form and flawless finish envisioned by O'Connell. Additive manufacturing is particularly well-suited to creating intricate, non-standard geometries like the sculpture's "abstract biomorphic form" at a significant scale. Fabricating the 3.5-metre-high work in sections made handling and assembly more manageable. Critically, the subsequent expert welding and polishing were essential to eliminate any trace of the sectional construction, achieving the unified, continuous, mirror-like surface that is integral to the sculpture's aesthetic concept and its capacity to interact visually with the park environment.
The production of "Dipping the Other Wing" thus exemplifies a contemporary model of sculpture creation, highlighting a synergy between distinct fields of expertise. It represents a confluence of the artist's conceptual vision (O'Connell), advanced digital fabrication technology (WAAM employed by Kaparos), and highly skilled artisanal craft (the specialised welding and mirror-polishing executed by Kaparos). This collaborative approach, integrating artistic direction with sophisticated manufacturing capabilities and specialised craft skills, underscores the complex ecosystem often required to realise ambitious, large-scale contemporary sculptures.
Synthesis and Significance: A Public Artwork for Dublin
"Dipping the Other Wing" establishes itself as a significant focal point within the revitalised landscape of Wilton Park, particularly in the newly designated Mary Lavin Place. Its polished, curving form enters into a dynamic relationship with the surrounding elements. The mirror surface captures and refracts the park's natural features – the lawns, trees, plantings, and the nearby Grand Canal – as well as the architectural context, including the covered street and adjacent buildings. This constant interplay ensures the sculpture is not a static monument but an active participant in the life of the park.
The work successfully fulfils the key objectives apparent in its commission. It serves as a powerful commemoration of Mary Lavin, achieving this in the "genuine and meaningful way" sought by the commissioners. By drawing inspiration directly from her writing and its connection to the specific site, the sculpture offers a nuanced artistic interpretation that transcends simple naming or portraiture, creating a lasting tribute embedded in her literary legacy. Simultaneously, it functions effectively within IPUT's broader cultural place-making strategy, enhancing the identity and appeal of Wilton Park by providing a landmark piece of contemporary art. .It stands as a notable contribution to Dublin's public art portfolio, gifted to the city through private investment but fully accessible within the public realm.
Eilis O'Connell's expressed hope that the sculpture would "engage the surroundings and want to be touched" invites consideration of public interaction. The mirror finish undeniably fosters engagement, encouraging viewers to see themselves and the park reflected within the artwork's surface, prompting both literal and figurative reflection. Its location within an accessible public park potentially invites a closer, more tactile experience than art in more formal settings might allow, although the practical need to maintain the pristine mirror finish may temper direct physical contact over time.
Considered within the wider context of public art in Dublin and Ireland, "Dipping the Other Wing" reflects several contemporary currents. Its dedication to a female writer, within a space explicitly named as the first of its kind, contributes to ongoing efforts to achieve greater gender balance in public commemoration. The use of an abstract, biomorphic language combined with advanced manufacturing techniques positions it firmly within contemporary sculptural practice. Furthermore, its realisation through private corporate funding for a publicly accessible space exemplifies a prevalent model for delivering cultural amenities in the contemporary city.
The sculpture functions as a facilitator of multiple dialogues. It creates a conversation between contemporary visual art and twentieth-century literary heritage, linking O'Connell's practice directly to Lavin's prose. It bridges the past – Lavin's time, the park's history – and the present – the redevelopment, the new artwork, the contemporary audience. Through its reflective properties and intended accessibility, it fosters a dialogue between the artwork itself and its immediate physical environment and the public who encounter it. These interwoven dialogues imbue the work with layers of meaning, making it a dynamic cultural marker rather than a passive object.
The commission by IPUT, a prominent real estate entity, also underscores the significant role corporate patronage plays in shaping today's public art landscape. While such investment delivers valuable cultural assets like "Dipping the Other Wing" and revitalised public spaces like Wilton Park, it inherently operates within a framework where corporate objectives – such as brand enhancement, placemaking, and increasing property value – exist alongside civic and cultural aims. Acknowledging this context is essential for a complete understanding of the sculpture's genesis and its position within the complex interplay of culture, commerce, and urban development in contemporary Dublin.
Conclusion
"Dipping the Other Wing" emerges as a multifaceted and resonant work of contemporary public sculpture. Eilis O'Connell RHA has skillfully integrated her long-established artistic concerns – the exploration of materials, the preference for organic forms, and the dynamic engagement with space – with the specific demands and opportunities presented by this unique commission. The sculpture successfully translates the kinetic energy and emotional undertones of a specific passage from Mary Lavin's "One Evening" into an abstract, biomorphic form realised in mirror-polished stainless steel. Its fabrication, employing the innovative WAAM process through collaboration with specialist foundries, highlights the intersection of artistic vision and advanced technology in contemporary practice.
Located in Mary Lavin Place, the first public square in Ireland named for a female writer, within the context of the culturally focused redevelopment of Wilton Park by IPUT Real Estate, the sculpture functions on multiple levels. It serves as a poignant and site-specific commemoration of Mary Lavin, anchoring her literary legacy within the physical landscape she observed. It acts as a key element in a corporate strategy of cultural place-making, intended to enhance the identity and vibrancy of the area. Its reflective surface and engaging form invite public interaction and integrate the artwork dynamically into the park environment.
Ultimately, "Dipping the Other Wing" stands as a complex synthesis of artistic practice, literary inspiration, commemorative intent, technological innovation, and corporate patronage. It successfully navigates these diverse elements to create a significant contribution to Dublin's public realm. The sculpture facilitates a rich dialogue between past and present, art and literature, object and environment, marking a noteworthy moment in the ongoing evolution of public art in Ireland and offering a lasting tribute to one of the nation's important literary figures.
I used a Sony FX30 and a Zeiss Batis 25mm lens which I purchased almost ten years ago.
The Zeiss Batis 25mm f/2 stands as a significant lens within the Sony E-mount ecosystem, representing one of Zeiss's initial forays into crafting autofocus lenses specifically for Sony's full-frame mirrorless cameras. Launched in 2015, it aimed to blend traditional Zeiss optical characteristics – notably rich colour rendition and high contrast – with modern functionalities like autofocus, weather sealing, and a unique OLED information display, all within a relatively compact and lightweight package suitable for mirrorless systems. Optically, it is generally regarded as a strong performer, delivering good to excellent sharpness across the frame, even wide open, and commendable control over flare and distortion.
A VERY PINK 3D SCULPTURE
THE TREE OF GOLD IS STILL ON DAME STREET [SCULPTURE BY ÉAMMON O'DOHERTY]
Éamonn O'Doherty's striking sculpture, officially titled "Crann an Óir" (meaning "Tree of Gold"), remains a prominent feature on Dame Street, Dublin, despite earlier plans for its relocation. Often colloquially referred to as the 'Money Tree', this artwork, with its distinctive golden orb, was commissioned by the Central Bank and selected following a competition in 1991.
In early 2016, the Central Bank announced intentions to move the iconic sculpture to its new headquarters on North Wall Quay, with a proposed budget of €500,000 for the relocation. However, the "Tree of Gold" continues to grace Dame Street, maintaining its presence as a recognisable city landmark.
Éamonn O'Doherty (1939–2011), a versatile artist born in Derry, Northern Ireland, was renowned for his public sculptures. His artistic repertoire extended beyond sculpture to encompass painting, printmaking, photography, and lecturing. He was a significant figure in Irish contemporary art, leaving a legacy of impactful public installations.
Among his notable works are the Quincentennial Sculpture in Eyre Square, Galway, which I intend to photograph later in the year, and the Anna Livia monument, which was relocated to Croppy Acre Memorial Park, Dublin, in 2011. O'Doherty's artistic achievements also include accolades for his paintings, notably through the Irish Exhibition of Living Art. Furthermore, a touring exhibition of his photographs, drawn from the Irish Traditional Music Archive collection, showcased his photographic work across the United States. He died in Dublin at the age of 72.
A VERY PINK 3D SCULPTURE
DAVID AND GOLIATH BY JAM SUTTON [THIS HAD BEEN MISSING FOR A WHILE]
It's fascinating how Jam Sutton's "David and Goliath" sculpture has made such a striking impression at Dublin Castle.
Jam Sutton and His Work:
Contemporary Artist: Jam Sutton is a contemporary English artist known for blending classical themes with modern aesthetics. His work often involves reinterpreting historical narratives through a contemporary lens. He frequently utilises modern techniques, such as 3D printing, to create his sculptures.
"David and Goliath" Style: His rendition of "David and Goliath" is a prime example of this fusion. It presents David in streetwear, complete with a baseball cap and Nike trainers, offering a stark contrast to the traditional depictions. The use of a bright pink colour, also, gives the work a very modern feel.
3D Printing: A key aspect of this particular sculpture is its construction. It was created using 3D printing technology, allowing for a large-scale and detailed reproduction of his original design. The original work was made of Carrara marble, and the Dublin castle version was made by 3d scanning that original, and then 3d printing the scanned file.
Themes: Sutton's work often explores themes of power, representation, and the reinterpretation of historical narratives.
"David and Goliath" at Dublin Castle:
Exhibition Context:
The sculpture was featured as part of an exhibition at Dublin Castle. It was part of the "On a Pedestal" exhibition.
Appearance and Materials: The sculpture's vibrant pink colour and modern design create a striking contrast with the historical architecture of Dublin Castle.
It is a 3d printed sculpture.
Removal/Maintenance: It is possible that the sculpture could be removed for maintenance purposes. 3d printed sculptures, especially those displayed outdoors, require occasional upkeep.
TRIBUTE TO VERONICA GUERIN
ONCE AGAIN I HAVE PHOTOGRAPHED THIS MEMORIAL TO VERONICA GUERIN [DUBLIN CASTLE]
The memorial sculpture dedicated to Veronica Guerin, located within the Dublin Castle Gardens, serves as a poignant reminder of her courageous work and tragic death.
Significance:
Veronica Guerin was an Irish investigative journalist who was murdered in 1996 for her reporting on organised crime. The memorial honours her dedication to exposing criminal activity.
The memorial therefore stands as a symbol of press freedom and the risks journalists take to uncover the truth.
It also serves as a location to remember the dangers of organised crime.
Location and Context:
The Dublin Castle Gardens provide a dignified and reflective setting for the memorial.
It is within an area that also contains other memorial gardens, including one dedicated to Gardaí killed in the line of duty, which places her sacrifice within the context of those who serve the public.
The location within Dublin castle gardens, makes it a very public place, and a place that is visited by many people.
Symbolism:
The memorial acts as a permanent reminder of the cost of pursuing justice.
The phrase inscribed on the memorial “Be not afraid” is a very powerful message.
Recent events:
Recent visits by political figures such as Roberta Metsola, president of the European Parliament, shows the continuing importance of the memorial, and the subject of violence against women.
A METAL SPIDER'S WEB
53 MOUNTJOY STREET [THE WESTERN WAY SIDE OF THE BUILDING FEATURES A METAL SPIDER'S WEB]
On the Western Way side of 53 Mountjoy Street, a striking metal spider's web, a work of art by Kathleen O'Brien, adorns the wall. For many, including myself, the structure was initially mistaken for remnants of an old advertising hoarding. However, it is, in fact, a commissioned piece of public art. According to Wikipedia, this iron representation of a spider's web was commissioned by Dr Austin O'Carroll, whose general practitioner (GP) practice was formerly located within the building. This detail adds significant context to the artwork, transforming it from a mere metal structure into a piece with a personal and community connection.
The building itself holds historical architectural merit, retaining many of its early 19th-century features. These include an original doorcase and decorative window on the front elevation, traditional timber sash windows, and cast-iron railings protecting the basement area. Inside, the building preserves its plaster cornices, offering a glimpse into its past. Mountjoy Street's development can be traced back to the early 1800s, with its initial growth noted on Corbet's 1821 map and its established presence on Wilson's 1829 map. Originally numbered 20, before the street's renumbering, the property was valued at £60 in Pettigrew and Oulton's 1844 street directory. 53 Mountjoy Street maintains the consistent parapet height and fenestration arrangement of its neighbouring buildings, contributing positively to the architectural cohesion of both Mountjoy Street and the Western Way.
Kathleen O'Brien, the artist behind the spider's web, is known for her metalwork and public art installations. While specific details about her broader body of work and artistic philosophy in relation to this piece are limited within the provided context, it's clear that the spider's web serves as a unique and unexpected feature on the building. The spider web could be interpreted as a symbol of healing, or as a symbol of the interconnectedness of the community that the GP practice served. It creates a point of interest for those that walk by. O'Brien's work, in this instance, successfully blends art with the building's historical and functional past, adding an intriguing layer to the street's character.
GREEN OPAL SERPENTINE STONE
THE FAMILY BY WILLIAM W CHEWA [GREEN OPAL SERPENTINE STONE]
Holy Cross Church in Dundrum, in preparation for the 2018 World Meeting of Families in Dublin, underwent a significant restoration, including the creation of a new Pastoral Centre. To commemorate this event, the parish acquired a modern sculpture by Zimbabwean artist William W. Chewa. Originally titled "The Christian Family" (2015), and carved from Green Opal, a type of Serpentine stone, the piece now bears a bronze plaque stating "The Family (2016)". It remains unclear whether this signifies a renaming or the existence of multiple copies.
William W. Chewa, renowned for his expressive stone carvings, began his artistic journey in Zimbabwe at a young age. His work often reflects the essence of human connection, and "The Family" is no exception, capturing the love and unity inherent within familial bonds. Green Opal, chosen for its vibrant hue and workable texture, is commonly used in Zimbabwean sculpture. The intricate process of shaping this stone involves specialised tools, resulting in detailed and visually appealing forms. The sculpture's verdant colour further enhances its symbolic meaning, aligning perfectly with the World Meeting of Families' theme, "The Gospel of the Family: Joy for the World."
This piece, prominently displayed in the church grounds near Emmaus House, serves as a permanent reminder of the centrality of love within the Christian family. Its acquisition was facilitated by Fr. Kieran, demonstrating the community's dedication to celebrating family life.
The World Meeting of Families itself serves several vital purposes: strengthening families through resources and support, promoting the Gospel of the Family, fostering dialogue and understanding between diverse families, and celebrating the beauty and importance of family life. This event, like Chewa's sculpture, underscores the family as a source of love, support, and joy.
FAMINE MEMORIAL
THIS FAMINE MEMORIAL WAS CREATED BY EDWARD DELANEY [LOCATED IN STEPHEN'S GREEN DUBLIN]
Erected in 1967, Edward Delaney's 'Famine' memorial, located in St. Stephen's Green, Dublin, is a freestanding commemorative sculpture of significant artistic and social historical interest. This work serves as a poignant reminder of the Great Famine of 1843-53, a period during which over a million Irish people perished and millions more emigrated.
Delaney, a prominent figure in Irish sculpture during the latter half of the 20th century, is renowned for his modern expressionist works, of which this memorial and its companion piece, the Wolfe Tone Memorial, are prime examples. The 'Famine' sculpture comprises four lost-wax bronze castings, each a minimalist and skeletal figure, affixed via steel rods to a rectangular, six-slab granite platform with rock-faced sides. The southernmost figure, standing and leaning on a stick with head downcast, extends a ladle to the mouth of a seated figure. A tall, third figure faces north with head thrown back and arms outstretched, while a dog lies at its feet.
The striking and haunting presence of these bronze figures effectively evokes the historical watershed of the Famine and its associated motifs. A bronze plaque, located to the northwest of the platform, simply reads 'Famine by Edward Delaney R.H.A.' The memorial faces southwest into St. Stephen's Green, set against a backdrop of the roughly hewn granite screen of the Wolfe Tone Memorial, with composite concrete-paved hard standings. This sculpture stands as a worthy and important addition to the distinguished collection of monuments within St. Stephen's Green, and is an excellent example of the lost-wax method of bronze casting.
YELLOW METAL SCULPTURE
STATUE OF WOLFE TONE BY EDWARD DELANEY [WAS THE TARGET OF AN EXPLOSION]
Edward Delaney's statue of Wolfe Tone, a prominent figure in Irish Republicanism, became a target during the height of the Troubles. Crafted in the 1960s, the statue's symbolism and political significance rendered it a focal point for Loyalist opposition. In 1971, a bomb, planted by Loyalist paramilitaries, detonated, shattering the sculpture into numerous fragments that were scattered across Dublin's city centre. Despite the damage, Delaney painstakingly re-cast the pieces and restored the statue to its original location within months. The attempt to destroy the artwork, therefore, ultimately proved unsuccessful.
YELLOW METAL SCULPTURE
GEOMETRIC REFLECTIONS BY MICHAEL BULFIN [SCULPTURE AT MIESIAN PLAZA NEAR DUBLINBIKES DOCKING STATION 20]
Miesian Plaza, located on Lower Baggot Street, Dublin, is a notable office building complex designed in the International Style, heavily influenced by the work of Ludwig Mies van der Rohe, particularly his iconic Seagram Building. Formerly known as the Bank of Ireland Headquarters, the complex comprises three buildings of varying heights—four, five, and eight storeys—arranged around a central plaza. This design, with the two shorter buildings fronting Lower Baggot Street and the eight-storey building set behind, minimises the latter's visual impact on the streetscape.
The architectural firm Scott Tallon Walker, led by Ronnie Tallon, was responsible for the complex's design. Notably, Robin Walker, a founding partner, had both studied and taught alongside Mies van der Rohe. Dublin City Council has recognised Miesian Plaza as "one of the most important Modernist buildings in Ireland" and "Dublin’s finest example of the restrained and elegant Miesian style." In 2010, the facade and plaza were designated protected structures, acknowledging their architectural significance. The facade's design closely mirrors that of the Seagram Building.
Within the plaza, visitors can admire two significant sculptures: "Reflections" by Michael Bulfin, featured in this photograph, and "Red Cardinal" by John Burke. Michael Bulfin (born 1939) is a Dublin-based Irish sculptor and visual artist. The son of Irish republican Éamonn Bulfin and grandson of William Bulfin of Derrinlough, Birr, County Offaly, he received his education at University College Dublin and Yale University. He also held a German Government Scholarship in 1965, facilitated by the German Academic Exchange Service (DAAD), to study at a research laboratory in Hamburg, Germany. Bulfin has held prominent positions, including chairman of the Project Arts Centre and the Sculptors Society of Ireland, and is a member of Aosdána. His other notable works include "A Walk Among Stone" (1988) at Ballymun Flats (since demolished), and "Sky Train" (2002) at Sculpture in the Parklands.
The plaza's proximity to a Dublinbikes docking station (20) enhances its accessibility.
SCULPTURE BY HENRY MOORE
THE KNIFE EDGE SCULPTURE MEMORIAL TO W.B. YEATS BY HENRY MOORE [ST STEPHEN'S GREEN]
The sculpture in St. Stephen's Green, Dublin, formally titled "Knife Edge," serves as a powerful, abstract memorial to the Nobel Prize-winning Irish poet, W.B. Yeats. Created by the celebrated British sculptor Henry Moore, it was erected in 1967, many years after Yeats's death in 1939.
The sculpture is a free-standing, cast bronze monument. Its abstract form, characteristic of Moore's style, is described as "Knife Edge," suggesting sharp, angular lines and a dynamic, almost precarious balance. It's larger than life-size, lending it a monumental presence, despite its location on a relatively low, round-plan metal base. This base, in turn, sits atop a wider, low rubble granite plinth, which is integrated into a cobbled area within a larger paved garden. The setting itself, on the site of former glasshouses, is designed with stepped areas, offering ample seating for visitors to contemplate the artwork.
The text provided described it as, "A notable piece of bronze casting". This is supported by its abstract form. The fact it is in a public park in the open air it adds a robust quality to the sculpture.
The accompanying plaque clarifies the sculpture's purpose: "W.B. Yeats 1865-1939. A tribute in bronze by Henry Moore. Erected by admirers of the poet October 1967." This inscription underscores the collective effort to honour Yeats's legacy, positioning Moore's work as a tangible expression of admiration.
The choice of an abstract form to represent Yeats is particularly interesting. It's described as a "rare example of an abstract depiction of a person" within the context of St. Stephen's Green's memorials. This departure from representational portraiture aligns with Moore's broader artistic philosophy, which prioritised form, space, and material over literal likeness. It also perhaps subtly reflects the multifaceted nature of Yeats's own work, which blended Irish mythology, symbolism, and modernist experimentation.
W.B. Yeats (1865-1939)
William Butler Yeats was one of the foremost figures of 20th-century literature. An Irish poet and playwright, he was a driving force behind the Irish Literary Revival, a movement that sought to create a distinctly Irish national literature, drawing on Irish folklore, mythology, and history. He was awarded the Nobel Prize in Literature in 1923. His poetry often explored themes of Irish identity, spirituality, love, and the passage of time.
Henry Moore (1898-1986)
Henry Moore was one of the most significant British sculptors of the 20th century. He is best known for his semi-abstract monumental bronze sculptures, which are located around the world as public works of art. 1 His forms are often suggestive of the human figure, frequently featuring reclining figures with hollows and pierced forms. Moore was deeply interested in the relationship between sculpture and landscape, often placing his works in outdoor settings to engage with the surrounding environment. The use of bronze allowed Moore to create very large sculptures.
LOVE LANE
BARREL 2020 BY FERGUS MARTIN [REMINDS ME OF MY TRASHCAN MAC WHICH WAS A BIG DISAPPOINTMENT]
Unfortunately when I saw this sculpture it reminded me of the most disappointing computer that I ever had and it was expensive.
The cylindrical Mac Pro, released in 2013, was a radical departure from previous Mac Pro designs.
Its compact size and innovative thermal core were initially praised, but it quickly became a source of controversy and disappointment for many professional users.
What it was:
Radical Design: A small, cylindrical design with a polished aluminium finish.
Unified Thermal Core: Components were mounted around a central core for efficient cooling.
Powerful Specs: Offered with dual Intel Xeon processors and AMD FirePro GPUs.
Focus on External Expansion: Relied heavily on Thunderbolt 2 for external peripherals and expansion.
Why it disappointed:
Limited Internal Expansion: Lack of traditional PCIe slots hindered customisation and upgrades, a crucial aspect for professional workflows.
Thermal Issues: Despite the innovative design, some users reported thermal throttling under heavy loads.
GPU Limitations: The reliance on AMD FirePro GPUs meant limited options and less support compared to NVIDIA GPUs, which were preferred by many professionals.
Price: It was expensive, especially considering the limitations and lack of upgrade options.
Apple's Lack of Support:
Stagnant Updates: The "trashcan" Mac Pro went for years without meaningful updates, leaving users with outdated hardware.
Admission of Failure: Apple eventually acknowledged the design's shortcomings and admitted it didn't meet the needs of many professional users.
The "trashcan" Mac Pro serves as a reminder of the importance of understanding user needs and the limitations of prioritising form over function. It also highlights the challenges of balancing innovation with the need for flexibility and upgradeability in professional computing.
Fergus Martin's "Barrel 2020" at IMMA is a large, highly reflective, cylindrical sculpture. Its smooth, polished surface creates a mirror-like effect, reflecting the surrounding environment and the viewer themselves. This reflectivity is a key aspect of the work, blurring the lines between the object and its surroundings. The sculpture's form is simple and geometric, a perfect cylinder that emphasises its industrial origins. It's this simplicity and starkness that perhaps leads to comparisons with objects like the Mac Pro. The lack of surface detail, beyond the reflections, draws attention to the form itself and the way it interacts with light and space.
Martin's work often explores the relationship between form and material, and "Barrel 2020" is a clear example of this. The highly polished surface, while seemingly simple, requires considerable technical skill to achieve and maintain. This focus on craftsmanship is an important part of Martin's practice. The title, "Barrel," while perhaps misleading in terms of the object's appearance, might be intended to play with our expectations and preconceptions about what a "barrel" can be. It creates a tension between the name and the reality of the object, prompting us to consider the meaning and associations we attach to both.
The sculpture's placement at IMMA is also crucial. The outdoor setting allows the reflections to constantly shift and change, depending on the light, weather, and the movement of viewers. This dynamic interaction with the environment adds another layer of complexity to the work.
So, in short, "Barrel 2020" is a minimalist, reflective cylinder that invites contemplation on form, material, and the relationship between the object and its surroundings. My sincere apologies for the earlier, completely inaccurate description.
THE KNIFE EDGE SCULPTURE
THIS UNTITLED SCULPTURE EXPLORES THE FORM OF A GLASS FLASK [BY TONY CRAGG]
Tony Cragg's untitled sculpture, a striking exploration of the form of a glass flask, offers a fascinating insight into the artist's engagement with science, technology, and the transformative potential of materials.
Sir Anthony Douglas Cragg CBE RA, known as Tony Cragg, is an Anglo-German sculptor whose background has significantly shaped his artistic vision. Born in Liverpool in 1949, Cragg's early experience as a laboratory technician ignited a fascination with science and technology, themes that continue to resonate throughout his work. Since 1977, he has been based in Wuppertal, Germany. His formal art education took him from Gloucestershire College of Arts and Technology, Cheltenham, to Wimbledon School of Art, London, culminating in an MA from the Royal College of Art, London, in 1977.
This untitled sculpture, reminiscent of laboratory glassware, underscores Cragg's enduring interest in the intersection of art and scientific inquiry. Cast in bronze, the sculpture's familiar flask-like shape creates a compelling tension between the solidity of the material and the delicate nature of the original object. The sculpture's dynamic form, with its sweeping contour and almost 'open lip', suggests a sense of movement, as if the flask is in the process of tilting or pouring. This fluidity, implied within the seemingly static bronze, speaks to Cragg's broader preoccupation with transformation and the inherent potential within objects.
The Irish Museum of Modern Art (IMMA), Ireland's premier institution for modern and contemporary art, provides an ideal setting for this work. Located in Kilmainham, Dublin, IMMA's commitment to showcasing innovative and thought-provoking art makes it a fitting home for Cragg's exploration of form and material.
BY ULRICH RUCKRIEM
8 LIMESTONES IS A MULTI-ELEMENT SCULPTURE BY ULRICH RUCKRIEM [VARIOUS CAMERAS AND VARIOUS DATES]
Photographing this installation is nor as easy as it looks and I have never been fully satisfied with resulting images but I find it to be a useful reference every time I change my camera or purchase a new lens.
"8 Limestones" is a sculpture by Ulrich Rückriem, a German sculptor known for his monumental works. The sculpture is made of eight limestone blocks, each cut to 150 x 50 x 50cm, then split and reassembled into their original form. This work is located at the Irish Museum of Modern Art (IMMA) in Dublin and was created in 1988.
Here's some more information about the artist and the sculpture:
Ulrich Rückriem (born 1938) trained as a stonemason before beginning his career as a sculptor in 1963. His work often features geometric forms, with a focus on the natural qualities of the stone and the marks left by his tools. Rückriem lived in County Clare, Ireland, for thirteen years (1988 to 2001). His work has been exhibited internationally, including solo exhibitions at prestigious institutions like the Museum Ludwig (Cologne), the Sprengel Museum (Hanover), and the Neue Nationalgalerie (Berlin).
"8 Limestones" is a striking example of Rückriem's signature style. By splitting and reassembling the limestone blocks, he highlights the inherent qualities of the material and the process of its manipulation. The sculpture's scale and presence create a powerful dialogue with the surrounding environment. You can view "8 Limestones" for free in the grounds of the IMMA, as general admission to the museum is free.
SCULPTURE BY CLIODHNA CUSSEN
WHO MADE THE WORLD IS A SCULPTURE BY CLIODHNA CUSSEN [LOCATED NEAR THE HERBERT PARK HOTEL IN BALLSBRIDGE]
"Who Made the World" is a sculpture by Cliodhna Cussen, located near the Herbert Park Hotel in Ballsbridge, Dublin. While her name sometimes appears with variant spellings (Cliona, Cliodhna, or Cliodna), the correct and most commonly used form is Cliodhna.
Cliodhna Cussen was born and educated in County Limerick, Ireland. She pursued her higher education in Dublin and Florence, Italy. She currently lives and works, dividing her time between Dublin and County Kerry. Cussen is a full-time sculptor, primarily working with bronze and stone. In addition to her sculptural work, she is involved with graphic arts at the Graphic Studio Dublin and also illustrates and publishes Irish children's stories. She has exhibited extensively and has received numerous awards for her work, including the Listowel Gold Medal for sculpture and the sculpture prize at the Oireachtas.
"Who Made the World" is a bronze sculpture depicting four male figures lying on their backs, their legs and feet extended upwards to support a sphere representing the world. The figures are arranged in a formation reminiscent of football (soccer) players, their posture suggesting both effort and support. This prominent piece of public art invites multiple interpretations, reflecting themes related to creation, burden-bearing, and the interconnectedness of humanity and the Earth.
One interpretation sees the sculpture as a representation of human effort to support and sustain the world. However, another, equally valid reading, focuses on the figures' maleness and the positioning of the world as a plaything or object of dominion. This interpretation suggests the sculpture can be seen as a commentary on male dominance and control, with the world held aloft by the figures' feet, symbolising patriarchal influence and the potential for manipulation. It's a striking example of Cussen's work in public spaces, demonstrating how art can spark dialogue and encourage us to consider different viewpoints on complex themes.
CUT OUT PEOPLE
DANNY MAC CARTHY’S CUT OUT PEOPLE SCULPTURE [AT THE 1916 MEMORIAL GARDEN IN BLACKROCK PARK]
The carpark at Phoenix Terrace caters for 18 cars. It features an entry and an exit gate. These gates feature similar imposing granite piers and substantial original metalwork to the entrance at Elm Cliff. Access paths from the carpark lead to a 1916 memorial garden and towards the eastern side of the park to the cycle/walking route that parallels the railway line.
Danny McCarthy: A Pioneer of Sound and Performance Art in Ireland
Danny McCarthy is a leading figure in Irish sound and performance art. A founding director of Cork's Triskel Arts Centre and the National Sculpture Factory, and a director of Cobh's Sirius Arts Centre, McCarthy's influence on the Irish arts scene is considerable. This article explores his career, focusing on his "Cut Out People Sculpture" in Blackrock Park’s 1916 Memorial Garden, and his involvement with key arts organisations and projects.
Born in Mallow, McCarthy spent his formative years in Huntington Beach, California, before returning to Ireland to study at the National College of Art and Design in Dublin. His diverse artistic practice encompasses sound art, performance, installations, and curatorial projects. He innovatively uses sound, incorporating acoustics, electronics, and environmental elements, creating work described as both engaging and challenging. His painting style often features shaped canvases, such as rainbows or clouds, depicting human figures in playful departures from traditional representation.
McCarthy’s influence extends to arts education. He lectures in sound art and listening on the MA in Experimental Sound Practice at University College Cork's Music Department and is a visiting lecturer and workshop facilitator at other institutions. Further insights into his sound art are available in the book and CD LISTEN HEAR (Farpoint Recordings), and his exhibition/installation The Memory (Box) Room was shown at London’s Soundfjord Gallery and Cork’s Guesthouse. The Crawford Art Gallery commissioned his exhibition Beyond Silence: A Bell Rings in an Empty Sky, further cementing his reputation. Collaborations include the live sound performance Wa(l)king The Dream with Viv Corringham at the Sirius Arts Centre, where he also created the installation Sounding The Town.
The “Cut Out People Sculpture”, located in Blackrock Park’s 1916 Memorial Garden, commemorates the centenary of the Easter Rising. The garden, opened on 24 April 2016 by Councillor Barry Saul, features a bronze replica of the 1916 Proclamation. While details about the sculpture's materials and dimensions are unavailable, its presence in this commemorative space adds a layer of artistic commentary, prompting reflection on individual experiences within historical events. The “cut out” figures may symbolise the fragmentation and loss of conflict, alongside the resilience of the Irish spirit. The garden’s creation was supported by a Dublin City Council 1916 Commemoration Fund grant, facilitating historical research and public engagement. The garden is also associated with Number 40 Herbert Park, the home of 1916 Rising figure The O’Rahilly.
McCarthy’s involvement with key arts organisations is extensive:
National Sculpture Factory (NSF), Cork: As a founding director, McCarthy has been instrumental in providing studio space, technical support, training, and resources for large-scale artworks. The NSF supports artists through residencies, lectures, cultural exchanges, and workshops. Current programmes include Simon Kidd's Factory Fragments (26 November 2024 – 26 November 2025), TEK to Tech; Ancient Bronze Casting Workshop (6-20 July 2024), and Material Laboratories: Metal Fest (1-5 October 2024).
Triskel Arts Centre, Cork: Another founding directorship for McCarthy, this multidisciplinary arts centre, housed in a refurbished Georgian church, hosts diverse events, including music, cinema, visual art, and literary events. Current film screenings include Chasing the Light, Small Things Like These, Naked Lunch, All We Imagine As Light, Howards End, Queer, Maurice, and Heat and Dust. Triskel also has a partnership with the Cork Traveller Women's Network (CTWN).
Sirius Arts Centre, Cobh: McCarthy is a director of this multidisciplinary organisation, housed in the former Royal Cork Yacht Club. It hosts exhibitions, concerts, performances, workshops, and residencies. Named after the SS Sirius, the first steamship to cross the Atlantic from Cobh to New York, it fosters cultural exchange. Current exhibitions include Alice Rekab: Clann Miotlantach / Mythlantics (23 November 2024 – 8 March 2025).
McCarthy has also been involved in several other notable projects:
Sound Out: Co-curated with sound artist and writer David Toop, this project explores sound and listening in various contexts.
Sonic Vigil: As a director, McCarthy has been central to this annual improvisation marathon in Cork, often co-curated with Mick O'Shea (with whom he founded the Quiet Music Ensemble). Sonic Vigil has included events at St Fin Barre's Cathedral and the Drunk Pig Cafe, featuring the Irish premiere of Daniel Weintraub’s Pauline Oliveros documentary Deep Listening and Andrew Deutsch’s short film Memory Echo.
Just Listen: This seminar and installation series focuses on the art of listening and exploring sound in everyday life, featuring performances by artists such as David Toop, The Quiet Club, Pauline Oliveros, and John Godfrey.
These diverse activities demonstrate McCarthy’s significant contribution to the Irish arts landscape.
THE EMBRACED LOOP
THE EMBRACED LOOP BY ANAISA FRANKO [TODAY I USED A SONY 90MM MACRO LENS WITH MY SONY FX30 BODY]
The Embraced Loop, a poignant HIV and AIDS national monument by Anaisa Franco, resides in the People’s Gardens of Dublin’s Phoenix Park. This powerful sculpture serves as a tribute to those lost to the disease, a celebration of those who fought and supported others, and a symbol of solidarity with those currently living with and affected by HIV. The design, an abstract loop incorporating the iconic Red Ribbon, embodies an interactive approach and the interconnectedness of all those touched by the epidemic. Unveiled in Phoenix Park by Taoiseach Leo Varadkar, the monument stands as a permanent reminder of the ongoing struggle and the need for continued action and support.
Anaisa Franco, the award-winning artist behind The Embraced Loop, pioneers participatory public art, activating bodies and public spaces through interactive experiences. Her studio specialises in parametric digital fabrication and technology integration, creating experiential, self-sustainable works. With a Masters in Digital Art from the University of Plymouth (2007), and experience at Medialab Prado (2008) and Applied Future Studio in Berlin, Franco’s work seamlessly blends creativity, technology, and community engagement.
Recently, I’ve been experimenting with various camera and lens combinations, including my Sony FX30 paired with the Sony 90mm f/2.8 Macro G OSS lens. This exploration is part of my decision-making process for a future camera purchase. While generally pleased with the FX30’s output since December 2024, I find the lack of an electronic viewfinder a significant drawback. However, its compact and lightweight form factor, especially compared to my Sony A7RIV, is a definite plus.
Although the Sony FX30 is primarily a cinema camera, it’s capable of capturing 26.1MP still images. The 90mm macro lens, a full-frame optic renowned for its sharpness and image quality, is compatible with both full-frame and APS-C cameras like the FX30, making it ideal for close-up work such as insects, flowers, and product photography.
Using a full-frame lens on a crop-sensor body like the FX30 does present some considerations. The 1.5x crop factor means the 90mm lens effectively becomes a 135mm lens in terms of field of view. This can be advantageous for macro photography, providing increased reach, but less so for other genres. Furthermore, full-frame lenses are generally larger and heavier, potentially creating an imbalance on the smaller FX30 body.
However, there are also benefits. Full-frame lenses often deliver superior image quality, particularly in the centre, which is the area utilised by the APS-C sensor. Moreover, investing in a full-frame lens offers versatility should I upgrade to a full-frame camera in the future.
It's important to acknowledge the FX30’s limitations for still photography. The absence of a mechanical shutter can lead to rolling shutter distortion with fast-moving subjects or flash photography. The lack of a viewfinder makes composition challenging in bright conditions. The FX30 also lacks some dedicated still photography features, such as advanced burst shooting modes and in-body image stabilisation, and its ergonomics are geared towards video use.
In summary, while the Sony FX30 and 90mm macro lens combination can produce excellent results, its suitability depends on individual needs. For those prioritising video with occasional still photography, it’s a viable option. However, dedicated still photographers may find a camera designed specifically for stills a more appropriate choice.
BY LAURA O'HAGAN
LUMEN A MOSAIC BY LAURA O'HAGAN [DEDICATED TO THE FINAL CLASS TO ATTEND NOTRE DAME SCHOOL IN CHURCHTOWN]
"Lumen," a Radiant Mosaic in Dundrum
"Lumen," a stunning mosaic by acclaimed Irish artist Laura O'Hagan, graces the grounds of Dundrum Church. Installed in June 2019, this artwork was conceived with a profound intention: to offer solace and a beacon of light to those experiencing hardship.
O'Hagan, inspired by a desire to provide comfort during challenging times, initially sketched "Lumen" with this guiding principle. The mosaic serves as a poignant reminder of hope and resilience, particularly poignant as it was dedicated to the final year of the nearby Notre Dame School, which closed in 2019.
A Renowned Artist
Born and educated in Ireland, Laura O'Hagan graduated from the prestigious National College of Art and Design (NCAD) in 1986. Now based in Delgany, County Wicklow, she is renowned for her diverse artistic practice, encompassing sculptural ceramics, murals, and both 2D and 3D mosaics. O'Hagan's work often graces public and private spaces, with commissions for both exterior and interior settings.
A Legacy of Artistic Excellence
O'Hagan's artistic legacy includes several notable achievements:
Award-Winning Mosaics: Her portfolio boasts award-winning mosaics adorning churches in Belfast and Longford, alongside prominent installations at Dundrum Church and Temple Carrig School.
Preservation and Restoration: O'Hagan has contributed to the preservation of Irish cultural heritage through restoration projects at the esteemed National Gallery of Ireland and the National Museum of Ireland.
Recognition and Accolades: Her exceptional artistry has garnered numerous awards, including recognition for her seamless integration of art within architectural contexts.
A Member of the Mosaic Artists Association Ireland, Laura O'Hagan continues to enrich the Irish art scene with her captivating and meaningful works.
BY DAME ELISABETH FRINK
THE TRIBUTE HEAD BY DAME ELISABETH FRINK PHOTOGRAPHED CHRISTMAS DAY 2024 [A TRIBUTE TO NELSON MANDELA]
Dame Elisabeth Frink's "Tribute Head" in Merrion Square Park, Dublin
Dame Elisabeth Frink's "Tribute Head" is a poignant bronze sculpture located in the historic Merrion Square Park in Dublin, Ireland. This article delves into the fascinating story behind this artwork, exploring the artist's life and motivations, the sculpture's creation and significance, and its connection to the park and the events surrounding its placement.
The Sculpture
Created in 1975, "Tribute Head" is one of a series of four bronze heads by Dame Elisabeth Frink. These heads, with their closed eyes and serene yet stoic expressions, explore themes of suffering, resilience, and the indomitable human spirit. As Frink herself explained, "The heads represent the inhumanity of man – they are the heads of victims." They stand in stark contrast to her earlier "Goggle Heads," which conveyed a sense of menace and aggression. The "Tribute Heads" can be seen as a response to those earlier works, representing victims and martyrs who endure suffering with quiet dignity. Frink intended them to not only depict suffering but also to demonstrate the capacity for human survival in the face of adversity.
The dimensions of "Tribute Head" vary slightly depending on the specific cast, but they generally measure approximately 67.1 cm in height, 50.8 cm in width, and 40.6 cm in depth. Each cast is one of an edition of six, signed and numbered by the artist.
The Artist: Dame Elisabeth Frink
Dame Elisabeth Frink (1930-1993) was a prominent English sculptor and printmaker whose work often depicted men, animals, and religious figures.
arly Life and Influences
Born in Suffolk, Frink's childhood experiences during World War II profoundly influenced her artistic vision. Witnessing the trauma of returning soldiers and the constant threat of air raids instilled in her a deep awareness of human vulnerability and resilience. These early encounters shaped her artistic exploration of themes of strength, struggle, and the human condition.
Artistic Style
Frink's artistic style was characterised by a distinctive approach to form and texture. She preferred modelling in plaster to clay, building up layers on an armature and then working back with tools to create a surface that conveyed both rawness and expressiveness. This technique, influenced by Alberto Giacometti, allowed her to capture a sense of both physical presence and inner turmoil in her sculptures. While she drew inspiration from artists like Rodin, Frink sought to represent a universal humanity in her work rather than individual personalities.
Notable Works
Throughout her career, Frink received numerous accolades, including being appointed a Dame Commander of the Order of the British Empire (DBE) in 1982 and a Companion of Honour (CH) in 1992. Her works are held in prestigious collections worldwide, including the Tate Gallery in London and the National Galleries of Scotland. Some of her most notable works include "Birdman," "Horse and Rider," and the "Risen Christ" sculpture in Liverpool Cathedral. In addition to the "Tribute Heads," she created a series of "In Memoriam" heads, which further explored the theme of individuals who have suffered for their beliefs.
Merrion Square Park
Merrion Square Park is a green oasis in the heart of Dublin, surrounded by elegant Georgian architecture. Laid out in the 18th century, the square was initially a private garden for residents. However, in the 1970s, it was opened to the public, becoming a cherished space for Dubliners and visitors alike. The park was originally named "Archbishop Ryan Park" but was renamed "Merrion Square Park" in 2010 after Ryan was criticised in the Murphy Report.
Merrion Square Park is renowned for its historical significance, its association with prominent figures like Oscar Wilde and W.B. Yeats, and its carefully preserved Georgian character. The park also features a statue of Oscar Wilde, adding to its rich cultural heritage. In 1930, the Catholic Church purchased the park as a potential site for a cathedral, although this plan was never realised. Another notable feature in the park is the Rutland Fountain, dating back to 1792.
Unveiling and Legacy
The "Tribute Head" sculpture in Merrion Square Park was unveiled on 26 June 1983, in a ceremony attended by approximately 1,500 people. The event, organised by Artists for Amnesty, was a powerful demonstration of solidarity with Nelson Mandela, the imprisoned leader of the African National Congress (ANC). The unveiling featured readings by the renowned poet Seamus Heaney and a performance by The Chieftains. The inscription on the sculpture, though nearly impossible to read today, originally commemorated Mandela's imprisonment.
The sculpture was donated by Dame Elisabeth Frink to Artists for Amnesty, who sought a suitable location for it in Dublin. This act reflects Frink's own commitment to human rights and social justice, aligning with the themes of suffering and resilience explored in her "Tribute Heads." Merrion Square Park, with its historical significance and association with prominent figures, provided an appropriate setting for this tribute to Mandela and a statement against injustice. The unveiling ceremony itself was a significant event in Dublin's history, demonstrating the city's support for Mandela and the anti-apartheid movement.
When Mandela was released from prison in 1990, the "Tribute Head" became a focal point for celebrations in Dublin. Today, it stands as a testament to the power of art to inspire hope and promote social justice.
Conclusion
Dame Elisabeth Frink's "Tribute Head" in Merrion Square Park is more than just a sculpture; it is a symbol of resilience, a tribute to a global icon, and a testament to the enduring fight for human rights. Its presence in this historic park enriches Dublin's cultural landscape and serves as a poignant reminder of the importance of standing up against oppression. The sculpture embodies Frink's broader artistic themes, reflecting her deep concern with the human condition and her exploration of suffering, resilience, and the indomitable human spirit.
BUSHY THE SCULPTURE
BUSHY BY CORBAN WALKER [AN INTERESTING SCULPTURE AT BUSHY PARK]
Within the serene landscape of Bushy Park stands Bushy, a captivating sculpture by Irish artist Corban Walker. Initially, the lack of clear signage led to some speculation about its purpose – was it a modern communications mast, perhaps even a haven for bees? However, research has revealed its true identity as a striking work of art. [Note: the plaque which had been vandalised, painted over, has been restored]
This seven-metre-tall creation is a "slender aluminium sculpture" characterised by a "simple stacked cellular grid". As described by Dublin City Council, Walker's design is "an elegant, large-scale work based on many configurations of a cellular grid." The interplay of projecting and recessed sections creates a dynamic visual experience, offering "a lively, joyful vision of simplicity that belies the complexity of its making."
The sculpture's minimalist aesthetic complements the park's tranquil atmosphere, particularly the reflective environment surrounding the duck pond. Bushy serves as a distinctive landmark, enhancing the park's visual landscape.
Bushy is one of six new sculptures commissioned as part of Dublin City Council’s Sculpture Dublin initiative. This initiative aims to enrich Dublin's public spaces with contemporary art, making it accessible to all. Bushy was unveiled on 28 April 2022.
The other commissions in the Sculpture Dublin initiative are:
RGB Sconce, Hold Your Nose by Alan Phelan, a temporary commission for the O'Connell Plinth, unveiled on 29 September 2021.
Smithfield Utah by Alan Butler, a permanent commission for Smithfield Square Lower, unveiled on 18 October 2021.
THE BRIDGE: Fiacha Dhubha Fhionglaise ar Foluain (Finglas Ravens Soar) by Sara Cunningham-Bell, a permanent commission for Kildonan Park, unveiled on 8 November 2021.
Éirímís by Breda Marron, a permanent commission for Ballyfermot People's Park, unveiled on 24 June 2022.
Elevation by Iván Argote, a land art commission for St. Anne's Park, to be completed in 2023. Visualisations and plans are available on the St. Anne's Park commission webpage.
About the Artist:
Corban Walker is a renowned Irish artist whose work often explores themes of scale, perception, and the built environment. Born with achondroplasia, a form of dwarfism, Walker's personal experience of navigating a world designed for average height has deeply influenced his artistic practice. His sculptures and installations frequently engage with architectural spaces, prompting viewers to reconsider their relationship to their surroundings. He often uses industrial materials like aluminium and steel, creating minimalist yet impactful works.
About the Sculpture Dublin Initiative:
The Sculpture Dublin initiative is a Dublin City Council programme that aims to commission and install new public sculptures across the city. It seeks to promote contemporary art and enhance the urban environment for residents and visitors alike.
ANNE DEVLIN SCULPTURE
ANNE DEVLIN SCULPTURE [RATHFARNHAM VILLAGE DECEMBER 2024]
Anne Devlin: A Symbol of Resilience in Rathfarnham
On 25th February 2004, South Dublin County Council unveiled a statue of Anne Devlin, a key figure in the 1803 Rebellion, at the entrance to Rathfarnham Village. Positioned facing the Dublin Mountains, the statue portrays Devlin looking towards the horizon, a symbol of hope and the future.
Who was Anne Devlin?
Anne Devlin (c. 1780 – 1851) was born in Cronebeg, near Aughrim, County Wicklow. A cousin of United Irishmen leaders Michael Dwyer and Hugh Vesty Byrne, she became deeply involved in the republican movement. Despite coming from a relatively comfortable farming background, she dedicated herself to the cause of Irish freedom.
Devlin's Role in the 1803 Rebellion
Following the failed 1798 Rebellion, Robert Emmet, a prominent leader of the United Irishmen, sought to reignite the fight for independence. He established a headquarters in a house on Butterfield Lane, Rathfarnham (then known as Butterfield Avenue), then a rural area, to prepare for a renewed uprising in 1803. Anne Devlin, though not directly Emmet's housekeeper as is commonly believed, was indeed a very close associate, moving to this house with Emmet and his close allies to act as a housekeeper, a common way for revolutionaries to mask their activities.
Devlin's role was far more crucial than that of a domestic servant. She acted as a trusted confidante and messenger, carrying vital communications between Emmet and other rebels. Her unwavering loyalty and courage were essential to the planning of the rebellion.
The Aftermath of the Rebellion
The 1803 Rebellion, launched on 23rd July, was a short-lived and ultimately unsuccessful attempt to overthrow British rule. Emmet was captured, tried for treason, and publicly executed on 20th September 1803 outside St. Catherine's Church on Thomas Street, Dublin.
Anne Devlin was arrested shortly after the rising and imprisoned in Kilmainham Gaol. She endured brutal interrogations, including torture, and was offered substantial sums of money to betray her comrades. Despite the horrific conditions of her confinement, which included solitary confinement and psychological torment, Devlin refused to divulge any information. She remained steadfast in her loyalty, earning her a reputation as a symbol of resilience and unwavering dedication to the cause of Irish freedom.
On the day of Emmet's execution, Devlin was subjected to a particularly cruel act of psychological torture. She was taken from her cell and brought in a carriage to Dublin Castle for questioning. On the way, the carriage was deliberately stopped outside St. Catherine's Church, where Emmet had been executed, and Anne was forced to witness the aftermath, including the gruesome sight of animals licking up Emmet's blood from the paving stones. This horrific experience is documented in historical accounts and highlights the lengths to which the authorities went to break her spirit.
Life After Imprisonment and Legacy
Devlin was eventually released from Kilmainham Gaol in 1806, possibly through the intervention of Dr. William Trevor, the prison doctor, who was sympathetic to her plight. However, she was a broken woman, physically and emotionally scarred by her experiences. She married William Campbell in 1811 and they had two known children, but she lived out her remaining years in poverty, working as a washerwoman in the Liberties area of Dublin. She died in 1851 and was initially buried in a pauper's grave. Thanks to the efforts of historian Dr. Richard Robert Madden, who recognised her significance, her remains were later reinterred in Glasnevin Cemetery, a more fitting resting place for such a significant figure.
The Rathfarnham Statue: A Contested Memorial
The decision to erect a statue of Anne Devlin in Rathfarnham, rather than one of Robert Emmet, has been a subject of some debate. Emmet is undoubtedly a more widely recognised figure, and his connection to the area is well-established. However, the choice to honour Devlin highlights her crucial role in the 1803 Rebellion and recognises her extraordinary courage and sacrifice. It also serves as a reminder of the countless unsung heroes, particularly women, who played vital roles in Ireland's struggle for independence.
The Statue's Location and Significance
The statue's location at the entrance to Rathfarnham Village is significant. It stands near the site of Emmet's former headquarters on Butterfield Lane, marking the area's connection to this pivotal moment in Irish history. The statue is a popular point of interest for locals and visitors alike and provides an opportunity for reflection on the events of 1803 and the individuals who risked everything for their beliefs.
The Statue's Composition and Condition
While commonly referred to as bronze, the Anne Devlin statue is actually composed of fibreglass with a bronze resin finish. This technique creates the appearance of bronze at a lower cost and weight. This choice of material likely explains the visible wear and tear observed on the statue, as fibreglass is less durable than solid bronze. The statue, now over two decades old, has been exposed to the elements and shows signs of weathering, including fading of the bronze finish. It is also worth noting that the statue has been vandalised in the past and this has caused further damage to the sculpture.
Conclusion
The Anne Devlin statue in Rathfarnham is a powerful tribute to a remarkable woman whose courage and dedication continue to inspire. It stands as a testament to the enduring spirit of resistance and the pursuit of freedom, reminding us of the sacrifices made by those who fought for a better future for Ireland. The statue's presence in Rathfarnham enriches the village's historical landscape and provides a focal point for remembering a crucial period in Irish history.
MONUMENT TO MISSING PERSONS
ANN MULROONEY'S BRONZE MONUMENT TO MISSING PERSONS [KILKENNY CASTLE PARK]
Ann Mulrooney's "Monument To Missing Persons" in Kilkenny Castle Park
Kilkenny Castle Park, a place steeped in history and natural beauty, is home to a poignant sculpture entitled "Monument To Missing Persons". Created by the acclaimed Irish artist Ann Mulrooney, this artwork serves as a powerful reminder of those who have disappeared and the enduring impact their absence has on loved ones. This article delves into the sculpture itself, the artist's background, the significance of its location within Kilkenny Castle Park, and explores the "CONNECTED Kilkenny Sculpture Trail". It also examines the sculpture's relevance within the context of missing person cases and highlights any related stories, events, or media reports.
The "Monument To Missing Persons"
The "Monument To Missing Persons" is a deeply moving sculpture that captures the profound sense of loss and longing associated with the disappearance of a loved one. The sculpture, designed by Ann Mulrooney , consists of multiple hands cast in bronze and arranged on a stone plinth. These life-sized hands reach upwards, symbolising the missing persons reaching out for help or their loved ones reaching out to them. This powerful imagery evokes a sense of both despair and hope, acknowledging the pain of absence while also clinging to the possibility of reunion.
Each hand in the sculpture was cast from the actual hand of a relative of a missing person. This intimate connection to real individuals imbues the artwork with a profound sense of humanity and collective grief. The monument was commissioned by the Jo Jo Dullard Memorial Trust and funded by the National Millennium Committee Project. It was unveiled in 2002 by President Mary Mc Aleese.
The sculpture is located in a serene area of Kilkenny Castle Park, providing a space for quiet reflection and remembrance. The tranquil surroundings and the poignant symbolism of the outstretched hands create an atmosphere conducive to contemplation and healing. An inscription on the stone at the monument reads: "This sculpture and area of reflection is dedicated to all missing persons." This dedication broadens the sculpture's scope, acknowledging the widespread impact of disappearances and offering solace to all those affected.
Jo Jo Dullard
The "Monument To Missing Persons" holds particular significance for the family and friends of Jo Jo Dullard, a 21-year-old woman from Callan who went missing in November 1995. Jo Jo was last seen in Moone, County Kildare, while travelling home from Dublin. Her disappearance remains a mystery, and in 2020, the case was upgraded to a murder inquiry.
The Jo Jo Dullard Memorial Trust played a crucial role in commissioning the monument, ensuring that Jo Jo's story and the plight of other missing persons are not forgotten. Every year on the anniversary of her disappearance, a memorial ceremony is held at the monument. This event brings together family, friends, and the community to remember Jo Jo and other missing persons. The monument serves as a focal point for their grief and their hope for answers.
Ann Mulrooney: Sculptor and Cultural Leader
Ann Mulrooney is an Irish artist with a diverse background in sculpture and cultural management.
Education: BA in Fine Art, Crawford College of Art, Cork
MA in Sculpture, Royal College of Art, London
Artistic Style: Mulrooney's style is characterized by her use of diverse materials, often incorporating metalwork, and her focus on creating public art that engages with social and personal themes.
Major Works: "Monument To Missing Persons" in Kilkenny Castle Park.
Her artistic journey began with a focus on metalwork, having worked in a foundry in the UK. This experience likely influenced her sculptural style and her ability to work with different materials. As she explains in an interview, "I trained as a sculptor originally in the Crawford in Cork and I went and worked as a metal worker in a foundry in the UK for a couple of years."
Mulrooney's work has been exhibited widely in the UK and Ireland, and her pieces are held in numerous public and private collections. While she initially trained as a sculptor, she transitioned into cultural management, taking on roles such as running the National Design and Craft Gallery and serving as the CEO and Artistic Director of VISUAL Centre for Contemporary Art in Carlow. In these positions, she curated exhibitions and developed cross-disciplinary artistic programmes, often exploring the intersection of art, science, and technology.
Mulrooney's artistic vision and leadership have been recognised through her appointment to the Golden Fleece Award Advisory Panel, where she contributes to the selection process for this prestigious award in the visual and applied arts. Her involvement in this panel highlights her expertise and influence within the Irish arts community.
In addition to her work as a sculptor and cultural leader, Mulrooney has also been involved with Puffin Rock Habitats, where she has applied her creative skills and experience to projects related to environmental conservation and education. This demonstrates her commitment to using art and creativity to address important social and environmental issues.
Kilkenny Castle Park: A Place of History and Remembrance
Kilkenny Castle Park provides a historically rich and symbolically resonant setting for the "Monument To Missing Persons". The castle itself has witnessed centuries of Irish history, dating back to its construction in 1260. Originally built to control a fording point of the River Nore, it has served as a strategic stronghold and a symbol of power throughout its existence.
The castle and its surrounding parkland have undergone various transformations over the years, reflecting the changing needs and tastes of its occupants. Today, Kilkenny Castle is a popular tourist destination and a cherished public space, managed by the Office of Public Works. The park's tranquil atmosphere and its association with both historical events and personal memories make it a fitting location for a monument dedicated to those who have vanished.
The placement of the "Monument To Missing Persons" within this historic landscape adds another layer of meaning to the artwork. It connects the personal tragedies of missing persons to the broader historical narrative of Kilkenny Castle and the surrounding area. The park becomes a space where individual stories of loss intersect with the collective memory of the community.
The park also serves as a place to remember not only missing persons but also historical events and figures. This theme of remembrance is woven into the fabric of Kilkenny Castle Park, with its monuments, gardens, and historical buildings all serving as reminders of the past. The "Monument To Missing Persons" adds another dimension to this theme, highlighting the ongoing impact of loss and the importance of keeping memories alive.
Events in Kilkenny Castle Park
Kilkenny Castle Park is not only a place of historical significance and artistic expression but also a vibrant hub for events and gatherings. The Parade Tower, for example, serves as a conference venue, hosting meetings and events for various organisations and businesses.
The park also plays a role in academic life, as ceremonies for conferring awards and degrees on the graduates of the Kilkenny Campus of the National University of Ireland, Maynooth, have been held at the castle since 2002. These events bring a sense of celebration and achievement to the park, adding to its diverse range of functions.
The CONNECTED Kilkenny Sculpture Trails
While the name "CONNECTED Kilkenny Sculpture Trail" may cause some confusion, it actually refers to two distinct art initiatives in Kilkenny.
Firstly, there is the "Kilkenny Catwalk", a trail featuring 21 cat sculptures decorated by Irish artists and displayed in public spaces throughout Kilkenny City. This trail aims to engage the community with art, promote local businesses, and attract visitors to the city.
Secondly, there is a sculpture trail simply called "CONNECTED", an initiative by Design & Crafts Council Ireland, Kilkenny County Council, Kilkenny Arts Festival, Kilkenny Civic Trust and the OPW. This trail began at the National Design & Craft Gallery and led through the city's key cultural and historic sites along Kilkenny's Medieval Mile. It aimed to highlight the craftsmanship involved in developing large and small-scale works suited to the outdoors and to encourage people to reconnect with culture and craft outside of a gallery setting.
Although the "Monument To Missing Persons" may not be officially part of these trails, its presence in Kilkenny Castle Park contributes to the city's rich artistic landscape. It encourages visitors to explore the park and engage with public art that reflects on important social and personal themes.
Stories and Media Reports
The "Monument To Missing Persons" has been featured in news reports and events related to missing person cases, particularly the disappearance of Jo Jo Dullard. News articles about the annual memorial ceremonies often highlight the importance of keeping the memory of missing persons alive and the ongoing search for information about their whereabouts. One article states, "'It's important to keep Jo Jo's memory alive in our hearts and our prayers,' said Father Willie Purcell who with the Kilkenny Gospel choir will lead the walk and service for Jo Jo." This quote emphasises the role of the monument in providing a space for collective remembrance and support.
The "Monument To Missing Persons" provides a tangible symbol of this enduring hope and a place where the community can come together to offer support and solidarity.
Conclusion
Ann Mulrooney's "Monument To Missing Persons" is a powerful and moving artwork that serves as a focal point for remembrance and reflection in Kilkenny Castle Park. The sculpture's location within this historic landscape adds layers of meaning, connecting individual stories of loss to the broader historical narrative of the area and the wider context of missing person cases in Ireland. The artist's background in both sculpture and cultural management has informed her ability to create a work that resonates with both personal and collective experiences. The sculpture's role in memorial events and media reports related to missing person cases further highlights its significance as a symbol of remembrance and hope. The "Monument To Missing Persons" stands as a testament to the power of public art to address social issues, offer solace to those affected by loss, and foster a sense of community.
THREE SCULPTURES
LIMERICK PRISON FEATURES THREE SCULPTURES [HIGHLIGHTING FAMILY IMPACT OF INCARCERATION]
Limerick Prison has taken a unique step in acknowledging the human cost of incarceration with the unveiling of three powerful sculptures on its grounds. The artwork, created by Limerick City Build, serves as a poignant reminder of the impact imprisonment has not only on individuals but also on their families and the wider community.
One of the most striking pieces, entitled "The Space Between", features the silhouettes of a man, woman, and child. This evocative representation of a family highlights the often-overlooked consequences of imprisonment, as Human Rights Commissioner Teresa Blake noted at the unveiling: "It's an emotional piece that represents what goes missing when a person comes to prison."
This sentiment is echoed in the accompanying plaque for another sculpture, "The Divided Self", which reads: "The separation from family, community, and society is interwoven with the struggle for personal expression, creativity, and the survival of the spirit in an environment where freedom is denied." This piece, with its focus on the internal struggle of the individual, complements "The Space Between" by drawing attention to the psychological and emotional toll of incarceration.
The third sculpture, a silver bench named "Kathedra", provides a space for reflection and contemplation. While its symbolism may be less overt, it offers a place for visitors, families, and perhaps even those who have served time to pause and consider the complex issues surrounding imprisonment.
The unveiling of these sculptures coincided with the opening of a new family visiting area at Limerick Prison, further emphasising the institution's commitment to recognising the importance of family connections. This initiative has been praised by the Irish Human Rights and Equality Commission, with Commissioner Blake stating, "This is a fantastic statement about family that really links with the Prison Service core values."
By commissioning and displaying these thought-provoking sculptures, Limerick Prison has sparked a conversation about the human impact of incarceration and the importance of rehabilitation and reintegration. The artwork serves as a powerful reminder that while individuals may be imprisoned, their families and communities remain deeply affected, and the hope for a future beyond the prison walls endures.
BY EAMON O’DOHERTY
THE MAOI SCULPTURE
MAOI SCULPTURE IN CLONTARF [REPLICA OF ONE OF THE EASTER ISLAND STATUES]
The "MAOI" sculpture in Clontarf is a replica of one of the iconic Moai statues found on Easter Island, a Chilean territory in the Pacific Ocean. It was presented to the City of Dublin by the Government of Chile in November 2004 as a symbol of friendship and cultural exchange between the two nations.
Meaning and Significance
Moai: The Moai are monolithic human figures carved by the Rapa Nui people of Easter Island between the 13th and 16th centuries. They represent ancestors and deities and were believed to possess spiritual power.
Symbolism: The gift of the Maoi to Dublin signifies a connection between two geographically distant cultures with a shared appreciation for heritage and artistry. It also serves as a reminder of Chile's Polynesian heritage and its unique cultural identity.
Cultural Exchange: The presentation of the sculpture fostered cultural exchange and understanding between Ireland and Chile, promoting awareness of each other's history and traditions.
The Sculpture
Replica: The Clontarf Maoi is a faithful replica of an original Easter Island head, carved from volcanic stone sourced from the island itself.
Artist: It was sculpted by Chilean artist Alejandro Pakarati, a member of the Rapa Nui community, ensuring authenticity in its creation.
Location: The sculpture is prominently positioned on the promenade at Clontarf, near Vernon Avenue, making it a recognisable landmark in the area.
A SCULPTURE BY ORLA DE BRI
WAVE BY ANGELA CONNER
POISE BY ANGELA CONNER
THE BUSHY SCULPTURE
SEAN HEUSTON MEMORIAL STATUE
STONE STALLION
STREETPHOTOS.GALLERY
THIS IS A FASTER SERVER
IF YOU PREFER IMAGES TO TEXT THIS IS FOR YOU
INTRODUCING A NEW APPROACH
NEW GLOBAL MENU FOR PHOTO CENTRIC SITES
THIS USES THE ORIGINAL SERVER
Commercial Disclosure
You will find links to buy products from Amazon, Google and other partners. If you click on these links, you’ll find that the URL includes a small extra piece of text which identifies that the click came from my websites. This text is an affiliate code, and it means that I get a small percentage of the money you spend if you choose to buy that product, or, in some cases, other products from the site soon after. These affiliate links help pay the costs of producing my websites and ensure that the content is free to you.