Conetwirl

2008
Carbon fibre, Epoxy resin
300 x 530 x 250 cm
Edition of 3

Conetwirl is part of O'Connell's series Biomorphia. This was the most complex of all of the works produced for this series of works, whose title calls attention to the geometric construction, subverted by its organic sensibility. A cone forms the foundation of this piece, opening up to create a multi–directional and undulating plane. Historically, modern sculptors rejected the cone as they tended towards formal abstraction and an appreciation for matter that lacked corporeality. The reintroduction of the cone, however, through its silhouette and subsequent unfolding to construct the entire body of this piece, is based upon O’Connell’s cunning awareness of this development in modern sculpture. The form which results from this methodological construction, is not an object of stark formalism, rather, it mimics sea plants and corals subjected to the shifts of water’s movement. Her use of this new material, carbon fibre, has allowed O’Connell to achieve the parabolic arches and curves which evoke the delicacy and ephemeral nature integral to Conetwirl and link it to traditional notions of bio-morphism, in which abstraction is used to evoke living forms.

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About The Artist

O’Connell explores a plethora of materials and processes in her work. She hoards found objects such as discarded agricultural tools and dairy vessels, which may eventually find their way into her sculpture or become an inspiration for a form or texture. She teases the most extraordinary forms out of various materials, from stone and rubber to steel cord, sheet metals, glass and plaster for casting in bronze. O’Connell looks to archaeology, architecture and geometry, in addition to smaller objects and materials, for beginnings to both her large and small works. Recently she has begun to use fibreglass, usually reserved for building yachts and boats, in order to create graceful organic shapes, reminiscent of natural forms and familiar objects. O'Connell has long held an interest in forms that confound the natural and artificial. The refined, yet, organic shapes of imatra stones and concretions— geologic structures often confused with fossils—are often used as the departure point for her sculptures. Imatra stones often develop over centuries when minerals precipitate within rock cavities or build up around a nucleus such as a pebble or shell and evolve into a tacked disc shape. O’Connell is fascinated by such complex natural processes, which exist on a minute scale, and which she magnifies to provide a new perspective on their usually negligible existence. .

Eilís O'Connell

Born: 1953

Other Artworks by Eilís O'Connell at CASS

2008

Curve to Point

Curve to Point is a work that plays with historical and contemporary notions of formalism. The notions of opposition and…

2008

Loop

O’Connell’s work is often informed by the austerity of minimalism as well as the uncomplicated shapes of ring forts from…

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