TO DAY I USED A SONY FX30
IT WAS A BEAUTIFUL DAY AT THE BOTANIC GARDENS [14 SEPTEMBER 2026]
Today I used Sony FX30 and a Sony E PZ 18-105mm f/4 G OSS
A clear September afternoon at the National Botanic Gardens in Glasnevin offers a contemplative atmosphere, even during a quiet year for Irish public sculpture. With the hiatus of Sculpture in Context in 2026 due to logistical demands surrounding Ireland’s EU presidency, the grounds still hold notable permanent and long-standing bronzes in dialogue with the landscape.
The Hiatus, History, and Future of Sculpture in Context
Founded in 1985 by sculptors Cliodhna Cussen, Gerard Cox, and Colm Brennan, Sculpture in Context was created to liberate three-dimensional art from formal indoor galleries. After early venues at Fernhill Gardens, Malahide Castle, and Kilmainham Gaol, the event found its natural home at the National Botanic Gardens in 2002.
The 2026 hiatus allows breathing space after four decades of volunteer stewardship. Handing over organisation to a new team in 2027 provides an opportunity to restructure administrative workflows, explore fresh curation themes, and establish stronger links between emerging Irish sculptors and international practitioners. A new organising body will inherit the vital task of balancing wide public access with the botanical sensitivities of a working scientific institution.
The Gardens as Context
The Botanic Gardens do not merely host sculpture; they actively shape how each piece is perceived:
Organic Scale and Framing: Sweeping open lawns and mature specimen trees establish long sightlines that give heavy bronze pieces room to breathe.
Microclimates and Historic Vistas: The curved ironwork and reflective glass of the Turner Curvilinear Range and the Great Palm House create a grand architectural counterpoint to outdoor patinated metal.
Shifting Light: Early autumn sunlight filters through high canopies, constantly altering the highlights, cast shadows, and silhouette of outdoor work throughout the day.
Featured Sculptures
Bob Quinn — Best Night Ever: Positioned gracefully on the lawn with the Great Palm House in the background, Quinn’s tall, textured bronze depicts two slender figures linked arm-in-arm in evening wear. Inspired by his wife's recollection of an uncle asking after a local dance whether they had "the best night ever", the sculpture captures warmth, enduring friendship, and shared memories through quiet vertical posture and gentle physical connection.
Nasser Azam — Sepian Blue: Set against the border alongside the glasshouse range, this bronze by the London-based, British-Pakistani artist reflects biomorphic modernism. Characterised by organic contours, grooved striations, and a prominent pierced aperture, the piece invites viewers to look directly through its mass to the greenery behind it. Its deep, variegated dark patination catches ambient light while anchoring the work firmly to the earth.
Today I used Sony FX30 and a Sony E PZ 18-105mm f/4 G OSS
A clear September afternoon at the National Botanic Gardens in Glasnevin offers a contemplative atmosphere, even during a quiet year for Irish public sculpture. With the hiatus of Sculpture in Context in 2026 due to logistical demands surrounding Ireland’s EU presidency, the grounds still hold notable permanent and long-standing bronzes in dialogue with the landscape.
The Hiatus, History, and Future of Sculpture in Context
Founded in 1985 by sculptors Cliodhna Cussen, Gerard Cox, and Colm Brennan, Sculpture in Context was created to liberate three-dimensional art from formal indoor galleries. After early venues at Fernhill Gardens, Malahide Castle, and Kilmainham Gaol, the event found its natural home at the National Botanic Gardens in 2002.
The 2026 hiatus allows breathing space after four decades of volunteer stewardship. Handing over organisation to a new team in 2027 provides an opportunity to restructure administrative workflows, explore fresh curation themes, and establish stronger links between emerging Irish sculptors and international practitioners. A new organising body will inherit the vital task of balancing wide public access with the botanical sensitivities of a working scientific institution.
The Gardens as Context
The Botanic Gardens do not merely host sculpture; they actively shape how each piece is perceived:
Organic Scale and Framing: Sweeping open lawns and mature specimen trees establish long sightlines that give heavy bronze pieces room to breathe.
Microclimates and Historic Vistas: The curved ironwork and reflective glass of the Turner Curvilinear Range and the Great Palm House create a grand architectural counterpoint to outdoor patinated metal.
Shifting Light: Early autumn sunlight filters through high canopies, constantly altering the highlights, cast shadows, and silhouette of outdoor work throughout the day.
Featured Sculptures
Bob Quinn — Best Night Ever: Positioned gracefully on the lawn with the Great Palm House in the background, Quinn’s tall, textured bronze depicts two slender figures linked arm-in-arm in evening wear. Inspired by his wife's recollection of an uncle asking after a local dance whether they had "the best night ever", the sculpture captures warmth, enduring friendship, and shared memories through quiet vertical posture and gentle physical connection.
Nasser Azam — Sepian Blue: Set against the border alongside the glasshouse range, this bronze by the London-based, British-Pakistani artist reflects biomorphic modernism. Characterised by organic contours, grooved striations, and a prominent pierced aperture, the piece invites viewers to look directly through its mass to the greenery behind it. Its deep, variegated dark patination catches ambient light while anchoring the work firmly to the earth.
BOTANIC GARDENS