PHOTOGRAPHED BY INFOMATIQUE 23 MAY 2025
Danny McCarthy’s ‘Cut Out People’: An Artistic Examination
This blog post explores ‘Cut Out People’, a significant metal sculpture by the acclaimed Irish artist, Danny McCarthy. This piece stands as a notable example of public art in Dublin, enriching the city’s cultural landscape. To fully appreciate this artwork, we will delve into its form, its specific location, and the extensive career of its creator.
Identifying the Artist: Danny McCarthy
It is important to clarify the identity of the artist from the outset. While some sources may mention “Dan MacCarthy,” the institutional affiliations — such as founding director of the National Sculpture Factory, Triskel Arts Centre, and director of the Sirius Arts Centre — confirm the artist in question is unequivocally the Irish artist, Danny McCarthy.
This discussion focuses solely on Danny McCarthy’s work, distinguishing him from other artists with similar names. For instance, there is an American artist named Dan McCarthy, known for his paintings and ceramics, who was born in Honolulu, Hawaii, and studied at the San Francisco Art Institute. His art often explores mountain ranges, landscapes, and themes of death and rebirth, featuring skeletons and suburban scenes. Another distinct figure is Paul McCarthy, an American artist recognised for multimedia practices that challenge genre and taboo, often exploring themes of sexuality, death, and the cultural subconscious through performance, photography, and sculpture. The initial difficulty in finding information due to these naming overlaps underscores the need for precise identification through contextual clues like institutional affiliations or specific artistic practices.
The Sculpture: ‘Cut Out People’ – Form, Material, and Concept
‘Cut Out People’ is a visually striking and conceptually rich sculpture, immediately drawing attention through its unique form and material. Standing at an impressive 13 feet, it commands a notable presence in its public setting.
Form and Composition
The sculpture depicts human forms through two distinct two-dimensional profiles, ingeniously intersected at right angles. This technique creates an intriguing interplay between flat planes and perceived three-dimensionality, inviting viewers to engage with its shifting appearance. The composition is inherently dynamic, designed to encourage active engagement from the viewer. The figures within the sculpture appear to flow, jump, and dance, conveying a sense of jubilant and graceful movement. This fluidity ensures the artwork can be appreciated from numerous different angles, constantly shifting in appearance as the viewer moves around it. This design actively engages the viewer in a participatory experience, reflecting a broader trend in contemporary sculpture towards experiential engagement rather than passive observation.
Material Choice
The choice of metal as the primary material for ‘Cut Out People’ is a significant artistic decision. While the title might evoke ephemerality, perhaps suggesting temporary, flat cardboard cutouts, the use of metal imbues the artwork with a profound sense of permanence and a robust physical presence. This material choice transforms a potentially transient form into a durable, lasting public artwork. It establishes a subtle tension between the seemingly light, two-dimensional origin implied by the “cut out” concept and the solid, enduring reality of its metallic form. This tension prompts deeper contemplation on the nature of representation, the illusion of depth, and the enduring quality of artistic expression.
Conceptual Elements: Shadows and Perception
A key conceptual element of ‘Cut Out People’ lies in the patterns painted onto the figures. These patterns are specifically designed to represent the shadows cast by the sun. This artistic choice highlights the effects of cutting profiles of people and the diverse shapes produced through this process. The figures are positioned on a plinth, further elevating their presence within the public space. The representation of shadows through painted patterns, rather than relying on actual sunlight, suggests an artistic exploration of perception, illusion, and the ephemeral nature of light and form. It transforms a transient phenomenon — the fleeting shadow — into a permanent artistic feature, prompting contemplation on presence, absence, and the abstract qualities of human representation. This technique also allows the sculpture to retain its intended visual effect regardless of natural lighting conditions, ensuring its conceptual integrity and consistent visual impact.
The Location: Blackrock Park, Dublin
‘Cut Out People’ is situated in Blackrock Park, a public green space in Dublin. This placement is significant as the sculpture is explicitly identified as being part of the Dún Laoghaire-Rathdown (DLR) Sculpture Trail.
Public Art Initiative
The inclusion of ‘Cut Out People’ within this sculpture trail signifies a deliberate effort by local authorities to integrate contemporary art into everyday urban environments. This initiative enhances cultural accessibility, transforming public parks into open-air galleries and fostering community engagement with art beyond traditional institutional settings. It positions the artwork within a structured public art programme, demonstrating a civic investment in cultural enrichment.
Accessibility and Engagement
The choice of a public park amplifies the sculpture’s accessibility and impact. A park setting allows the sculpture to be freely available to a wide audience, encouraging casual encounters with art rather than requiring a dedicated gallery visit. The open environment facilitates the multi-angled viewing experience that the sculpture’s design encourages. Visitors can easily walk around the artwork, observing its changing forms against natural backdrops, which is crucial for appreciating its dynamic composition. This placement promotes democratic access to art, moving it from the exclusive realm of galleries to an inclusive public space. Furthermore, the natural light and changing seasons provide an ever-evolving context for the artwork, subtly altering its appearance and the viewer’s perception, making the environment an active participant in the artistic experience.
The Artist: Danny McCarthy – A Leading Figure in Irish Contemporary Art
Danny McCarthy is a highly influential and pioneering figure within Irish contemporary art. His foundational education at the National College of Art and Design (NCAD) provided the bedrock for a career marked by innovation and a sustained commitment to artistic exploration.
Pioneer of Sound and Performance Art
McCarthy is widely recognised as a pioneer of both sound art and performance art in Ireland, consistently exhibiting and performing his work nationally and internationally for over forty years. His foundational role in establishing these avant-garde forms in Ireland underscores his innovative spirit and significant impact on the country’s artistic landscape. His continued activity as a leading exponent demonstrates sustained relevance and a commitment to pushing artistic boundaries beyond traditional mediums, thereby enriching the breadth of Irish contemporary art and shaping its trajectory.
Institutional Leadership and Contributions
Beyond his individual artistic practice, McCarthy has played pivotal roles in shaping Ireland’s arts infrastructure through extensive institutional leadership. He is a founding director of two major Cork-based institutions: the Triskel Arts Centre and the National Sculpture Factory. The National Sculpture Factory, for instance, was established in response to a need among fine art sculptors for affordable studio space and visual arts services, with McCarthy being one of four local artists instrumental in its founding. Furthermore, he serves as a director of the Sirius Arts Centre in Cobh and is a director of Sonic Vigil. His former directorships include the NCAD, Sculptors Society of Ireland, Art Trail, Intermedia, and the Quiet Music Ensemble, among others. This extensive involvement reveals a profound commitment not only to his own artistic practice but also to the development and sustainability of the broader arts ecosystem in Ireland.
Curatorial Work and Collaborations
McCarthy also boasts a distinguished curatorial record, having organised numerous exhibitions and projects that often push interdisciplinary boundaries. Notable examples include ‘Sound Out’, which he co-curated with the internationally renowned musician, writer, and sound curator David Toop. This collaboration highlights McCarthy’s international standing and his role in fostering cross-cultural artistic dialogue. He also curated ‘Bend It Like Beckett’, a CD project released in 2006 to commemorate the Beckett Centenary, showcasing his engagement with literary milestones and his expansive approach to artistic expression. Another significant project is ‘Sonic Vigil’, which he co-founded as an experimental event in 2005, evolving into a festival of improvisation and sound art. He has also been associated with projects titled ‘Just Listen’ and curated Intermedia Festivals. His collaborative spirit is further exemplified by his founding of The Quiet Club with Mick O’Shea in 2006, a floating membership sound art and electronics performance group that has performed widely across Ireland, Europe, China, Japan, USA, and Canada.
Artistic Philosophy and Recognition
While ‘Cut Out People’ is a visual sculpture, McCarthy’s broader artistic practice is deeply rooted in sound art and performance, offering a unique lens through which to interpret his diverse output. His work frequently explores themes of listening, silence, memory, and the sonic possibilities inherent in objects and places. He has created installations that delve into the “cracks between the silence” and the interplay of sound and objects, often utilising field recordings and found sounds. For instance, his installation ‘Haunted By Silence’ stems from hours spent “just listening” in St Marys Abbey Glencairn, capturing the random sounds of contracting wood in the church. Similarly, his “Memory Box Room” installation explores memory through fragments, incomplete melodies, and the “cracks between the silence,” highlighting the subtle, often unheard, sounds of objects and spaces. This profound engagement with sound, listening, and silence, even in his non-sculptural work, provides a consistent conceptual thread across his diverse mediums. The sculpture’s “cut out” forms and the painted shadows can be seen as a visual analogue to the “cracks between the silence” or the interplay of presence and absence that he explores sonically. In this way, negative space, implied presence, and the ephemeral are as significant as solid form, reflecting a unified artistic philosophy. A testament to his pioneering efforts in this field, his piece “Found Sound (Lost At Sea 11.1.11)” was the first sound art work acquired for the Irish National Collection, marking a significant milestone in the recognition of sound art within the national art historical canon.
McCarthy’s significant contributions and artistic excellence have garnered widespread recognition. He has received numerous awards and bursaries from significant bodies such as the Irish Arts Council, the Department of Foreign Affairs, and Culture Ireland. He was also a first-prize winner in EV+A (Exhibition of Visual + Art), an important annual art exhibition in Limerick. His work is held in prestigious collections including the Arts Council of Ireland, Crawford Municipal Gallery, the Irish National Collection, Limerick City Gallery, and various other international public and private collections.
Conclusion: Legacy and Enduring Impact
‘Cut Out People’ by Danny McCarthy is more than just a public sculpture; it is a tangible manifestation of an artist whose practice spans diverse mediums and profoundly influences the Irish contemporary art scene. The sculpture’s dynamic form, its innovative use of two-dimensional profiles to create three-dimensional illusion, and its conceptual engagement with light and shadow resonate deeply with McCarthy’s broader explorations of presence, absence, and perception—themes often central to his pioneering sound and performance art. The choice of durable metal for a “cut out” form subtly challenges perceptions of permanence and transience, echoing the nuanced interplay between what is seen and what is implied in his sonic works.
Its strategic placement in Blackrock Park, as an integral part of the DLR Sculpture Trail, further highlights McCarthy’s commitment to making art accessible and integrated into public life. This location not only provides a fitting backdrop for the sculpture’s multi-angled viewing experience but also transforms an urban green space into an open-air gallery, fostering a broader appreciation for contemporary art.
McCarthy’s extensive career, marked by his pioneering role in sound and performance art, his foundational contributions to key arts institutions like the National Sculpture Factory and Triskel Arts Centre, and his distinguished curatorial work, underscores his profound commitment to fostering and shaping the artistic landscape in Ireland. His innovative approach, particularly in less traditional mediums, combined with his significant public works like ‘Cut Out People’, ensures his enduring legacy as a multifaceted and pivotal figure in Irish contemporary art.
‘Cut Out People’ stands as a testament to McCarthy’s inventive spirit, offering a publicly accessible artwork that invites contemplation on form, movement, and the subtle interplay of human perception within a shared urban space, reflecting the depth and breadth of his artistic vision and his lasting contribution to the cultural fabric of Ireland.