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Ib Jorgensen takes pleasure in inviting you to an exhibition of

SCULPTURE on Wednesday, June 2nd 2010 5.30 – 7.30 p.m.

2. Siobhan Bulfin • Lioness • bronze, edition 1/9, 11" x 7" x 7"

JORGENSEN FINE ART 16 Herbert Street, Dublin 2. Telephone 00 353 1 66 19 758 / 9 E-mail: info@jorgensenfineart.com Website: www.jorgensenfineart.com Opening Hours: Monday-Friday 9.00 a.m.–5.30 p.m. Saturdays by Appointment


SOLVE ET COAGULA (Separate and join together) Alchemists’ dictum Only with fire can the smith shape iron From his conception into fine, dear work; Neither, without fire, can any artist Refine and bring gold to its highest state. Michelangelo, c.1532 As Herbert Read wrote in his 1964 book, A Concise History of Modern Sculpture, ‘The sensations involved in the act of creation are essentially those of thrust and pressure, tactile sensations.’ It follows that the growth and form of a piece of sculpture is best revealed to the spectator via the sense of touch. The sense of sight, of course, has its place in our appreciation of a threedimensional work of sculpture but it is the sensation of touch which is best served. Matisse, who professed himself to be in search of what he termed ‘the arabesque’, the rhythm, of a sculpture, wrote: ‘A sculpture must invite us to handle it as an object; just so the sculptor must feel, in making it, the particular demands for volume and mass. The smaller the bit of sculpture, the more the essentials of form must exist.’

Whilst a metal sculpture is formed by adding to the volume of the chosen material, a stone sculpture is released from its block by the taking away of material. An aficionado of this reductive technique, the Rumanian artist Constantin Brancusi, in many ways the godfather of modern sculpture, said that ‘it is while carving stone that you discover the spirit of your material and the properties peculiar to it. Your hand thinks and follows the thoughts of the material.’ It is interesting to compare these words with those written four centuries earlier by Michelangelo: Not even the best of artists has any conception That a single marble block does not contain Within its excess, and that is only attained By the hand that obeys the intellect

The creation of a bronze sculpture mimics the creation of life itself. To witness the pouring of bronze into a crucible is the most magical of experiences. There is an alchemy about it akin to the action of the lightning strike which may have brought life to our planet. All the senses are involved as one sees the colours, feels and smells the heat and hears the pouring of the molten metal. At this stage- for obvious reasons! – the tactile element is not available to us. How alarming this process must have proved to the peoples of earlier ages. It is hardly surprising that the alchemist in his quest for gold was regarded with such awe and, indeed, fear.

Just by taking away, lady, one puts Into hard and alpine stone A figure that’s alive And that grows larger wherever the stone decreases. ‘A sensitive observer of sculpture’, said Henry Moore in a 1937 broadcast, ‘must also learn to feel shape simply as shape, not as description or reminiscence.’ For Moore, as for Michelangelo, the essence of a sculpture is its vitality and power of expression, that pent-up energy and intense life of its own which is independent of the object it may represent. To be successful a sculpture must be an expression of the significance of life.

Just as the alchemist’s ultimate ambition was the transmutation of common metals into gold, analogous with the transmutation of the physical body into a state of immortality, so the sculptor’s ambition is to extract life from a mysterious immobility. Everything is made to stand still and in that frozen moment all is made permanent.

Síle Connaughton-Deeny, June 2010

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3. Rowan Gillespie Life bronze and Wicklow granite, edition 1/5, 50½" x 10½" x 10½"

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4. Richard O’Meara Gotcha polished limestone, unique 4¾" x 11" x 4¼"

5. Richard O’Meara Minnow Menu polished limestone, unique 8¼" x 3½" x 4½"

6. Richard O’Meara Woodcock Connemara marble, unique, 6" x 9" x 4½"

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7. Richard O’Meara King of All Birds polished limestone, unique, 16" x 11" x 5½"

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8. Michael Quane Unstable Kilkenny limestone, unique, 20他" x 18" x 10"

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9. Cody Swanson Doubting Thomas bronze, edition 2/8, 22½" x 19½" x 32"

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10. Patrick Campbell Midnight bronze, edition, 21" x 13½" x 10"

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11. Patrick Campbell The Three Graces bronze, edition 2/11, each 15½" x 8" x 4"

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12. Carolyn Mulholland, RHA Lookout bronze, edition 3/4, 16" x 10" x 2½"

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13. Carolyn Mulholland, RHA Little Fat Lady bronze, edition 1/9, 26他" x 7" x 6"

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14. Affortunato Gori (fl.1895–1925) Figure bronze, edition

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15. Alina Marcellino Bathsheba bronze, edition 1/8, 15" x 9" x 8½"

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16. Anna Campbell Linnane Tall Bird bronze, edition 2/8, 15" x 11½" x 7"

17. Siobhan Bulfin Rearing Horse bronze, edition 1/9, 21" x 4" x 17½"

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18. Olivia Musgrave Horse bronze, edition 5/9, 22Ÿ" x 23ž" x 8"

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19. Catherine Greene Magdalene’s Farewell bronze, unique, 25¼" x 8" x 8"

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20. Catherine Greene Terra Incognita bronze, edition 3/5, 18" x 12" x 12½"

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21. Vadim Tuzov Swallow bronze, edition 1/9, 11" x 14" x 7"

22. Vadim Tuzov Duck bronze, edition, 35" x 13½" x 8"

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23. Leo Higgins Bird in Tree bronze, edition, 16" x 4" x 6"

24. Leo Higgins Urban Trees bronze, edition, 21" x 1½" x 5"

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25. John Behan, RHA Boar bronze, unique, 16" x 12½" x 4"

26. Mark Rode (Contemporary) Stranded bronze and portland stone, edition 5/5, 14" x 4½" x 3¼"

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27. Mark Rode (Contemporary) Atlas bronze, edition 2/5, 19½" x 11" x 11"

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28. Elizabeth Le Jeune Figure bronze, edition, 20" x 7" x 6"

29. Elizabeth Le Jeune Fragment bronze, edition 1/9, 7¼" x 5¼" x 3½"

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30. Vadim Tuzov Grouse bronze, edition 4/7, 11" x 9" x 5½"


31. Fiona Smith Darragh Bird bronze, edition

32. Fiona Smith Darragh Two Egrets bronze, edition 1/7, 11¼" x 5" x 7"

33. Fiona Smith Darragh Hobby bronze, artist’s proof, 9½" x 6" x 3¾"

35. Rosi MacAuley Chickens bronze, edition 4/9, 8½" x 5" x 10"

34. Rosi MacAuley Donkey bronze, edition 3/8, 12" x 9" x 4"

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36. Carolyn Mulholland, RHA Moth bronze, edition 11/25, 13½" x 10¾"

38. Ian McAllister The Dancer bronze, edition 1/5, 17" x 9" x 4½"

37. Rosi McAuley Elephant bronze, edition 5/9, 11½" x 5" x 10¼"

39. Ian McAllister The Gymnast bronze, edition 1/5, 16" x 3" x 16½"

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40. Ian McAllister High Diver bronze, edition 1/5, 14" x 14¼" x 4"


Jorgensen Fine Art Sculpture Exhibition  

Featuring a wide ranging selection of contemporary Irish sculptors including Carolyn Mulholland, John Behan, Rowan Gillespie, Catherine Gree...

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