DIPPING THE OTHER WING 2024 BY EILIS O'CONNELL R.H.A.
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.
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.
DIPPING THE OTHER WING 2024 BY EILIS O'CONNELL R.H.A.