Curve to Point

2008
Carbon fibre, Epoxy resin
230 x 620 x 440 cm
Edition of 3

Curve to Point is a work that plays with historical and contemporary notions of formalism. The notions of opposition and consolidation are central to Curve to Point. It is an object that vacillates between the mathematic and scientific, natural and symbolic so as to achieve a harmonious balance between object and environment. Curve to Point is constructed from a curved plane manipulated in space to form a vortex. It wraps around itself and narrows as it is drawn out into an apex. Its naturalistic form is also said to represent a spiral in reverse. Mathematically, spirals are defined as curves that originate from a central point. They are naturally occurring phenomena found in seashells, plants such as sunflowers and ferns and in weather systems. Symbolically, the spiral’s shape implies the potential to unfurl interminably, which is considered analogous with eternal life and infinity.

The existence of man–made spirals dates back to Celtic Mazes, prehistoric drawings composed of spiral patterns. These drawings are found on walls throughout Ireland and other ancient Celtic lands and are thought to have been associated with femininity and a balance between inner and outer consciousness. Evidence of the triple spiral, can be found at the Newgrange megalith that O’Connell visited frequently as a child. It is an image thought to have represented the notion that life moved in eternal circles, with central tenets of birth, death and rebirth or man, woman and child.

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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

Conetwirl

Conetwirl is part of O'Connell's series Biomorphia. This was the most complex of all of the works produced for this seri…

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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