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A Blow by Blow Account of Stonecarving in Oxford Sean Lynch Dublin City Gallery the Hugh Lane, 10 July – 29 September 2013 Modern Art Oxford, 12 April – 8 June 2014

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A Blow by Blow Account of Stonecarving in Oxford Sean Lynch Dublin City Gallery the Hugh Lane, 10 July – 29 September 2013 Modern Art Oxford, 12 April – 8 June 2014 A blow by blow account of stonecarving in Oxford Sean Lynch A blow by blow account of stonecarving in Oxford Sean Lynch Modern Art Oxford Dublin City Gallery The Hugh Lane Many versions of the rise and fall of O’Shea and his brother could be told. Where exactly did they come from? Their origins seem obscure. Accounts vary. Sentiment inevitably abounds. Growing up during the famine, new stone quarries were opened to provide employment for many men of the country. The ground was dug and carved up to shape new buildings, buildings hammered and grappled out of stone and rock. Close by, down at the bottom of a laneway, the brothers were found carving a piece of wood so cleverly that they were brought directly to the building site to work. How did the O’Sheas’ craft evolve? Did they remake Spiky grasses, forget-me-nots, all that they saw, listening to birdsong while they gazed into a ditch and bushes swaying in the breeze? lilies and crocuses, folded petals and leaves, young shoots and ferns furled like tightly coiled springs twist with rhythmic tension, the oak, the ivy, acanthus, As one learns a language, the O’Sheas did imitate the sounds and grammar of their world, repeating it as an obsessive routine and replicating all in stone. a daffodil, shamrock, lilies, Their native skill was uncorrupted by any modern world. every variety of wreath, squirrels, snakes, frogs, mice, all birds and insects depicted in random cats, clusters as they would be found on any wayside. They conjured up an Ireland crammed with lively, rude, imaginative craftsmen, all displaying a kind of ruthlessness, a determination not to let taste interfere foxes, with their conviction. They only saw the clash of interrupted rhythms, the same They could never repress and contaminate what they as it pulsed in nature, indigestible in its detail. carved into an ordered pattern, repeating it neatly like the wheels and cogs of their time. Instead, hours were spent orchestrating with an elementary level of form, rather than waiting for divine inspiration. They had heard of one true being, but never saw him, on their walks they never came by any tidy story he had made of the world. Each blow to the stone… … now reverberating and echoing. In the jungle of detail a monkeyman was found, clutching his feet and scratching his back. Did the O’Sheas know of Darwin, and the theory of human evolution from the ape? They always avoided the boredom of waiting around for the next world. The O’Sheas’ reality was more dense, more fundamental than God’s. Were the O’Sheas carving the Darwinian theory? Monkey see? Monkey do? Soon the O’Sheas were called to Britain. Getting off at the docks in Liverpool, they met the rebellious Paddy, the hybrid ape-man notorious for his violent ways, b en t o n re v e n g e f o His destructive instincts were engraved in every line of r his face and body, a l l t h e w r o n g s i n f i c t e d b y E n g l a n d o n h i s n . a d t i n v e a l e of the e slop fo h re he n t a i d, e of the nose rv u c e h t a n d t h e s h a p e o f t he ch in. New employers in Oxford soon boasted of the punctual rapidity of the O’Shea’s work, delighting in their liberty of action and power in improvisation that increased efficiency and reduced costs. No preparatory models. No clay mock-ups. Never waste time copying detailed drawings. Instead, the O‘Sheas brought in, from their morning walks, the fowers and plants that they carved into stone with vigour. At the top of the scaffold, animals would never stay so still to be carved. The O’Sheas caught them in movement, evolving from one shape into another. High up on the building, out of the way and hard to spot, the O’Sheas could get away with things. Infrastructure continued to be built and the new Stone is a hard material, museum complex took shape. Suffice it to say, commentary on the building was heard near and far, chatter of styles in and out of fashion were argued. and is hard to look at. Affected lightness, delicacy, overrich, even whimsical. Maybe massive, cumbersome Regardless of these generic descriptions, the O’Sheas hammered on. A trip inside the exhibition hall could help to figure out what they were up to. and unwieldy. Whatever enters any museum is placed in an order of knowledge, and is fixed and identified and labelled. Objects and life, once free, now conscripted, harden into institutional values that form the museum itself. Why would people go to stare at dinosaurs if it wasn’t for the uncanny fantasy of them coming back to life again? Why doesn’t he move? They have mouths, Is he dead? but they don’t speak to us. They have mouths, but they don’t speak to us. They have eyes, They have mouths, but they don’t and don’t see us. speak They have eyes and don’t to see us. us. In a theory of evolution, animals, plants and museums This impulse might solve questions relating to the shape are not embodiments of eternal essences but slow and form of humanity itself, an operation in which accumulations cemented together via reproductive something like ‘man’ can be decided upon and produced. isolation. Once one set of values is established in this way, they In this case, what is lost along the way? A famous example act as the selection criteria for further advancement is the Oxford dodo. Its bones were brought to Britain and in each vitrine. lodged on the South Lambeth Road in Vauxhall. There, a museum formed in the seventeenth century, full Rumours abound of live specimens seen in the city. of rarities and curiosities of every sort and kind, displayed When carving a fried chicken out of a dodo, is the in a room where a fee-paying public could scrutinize. chicken formed inside the dodo, or is it the other way round? The site is often described as the first public museum. The dodo has no present tense. What did the dodo leave behind there? What infuences remain? It’s a great heavy bird who can fy… To fit in with a cost plan, they were advised by authorities on economic grounds to only carve a small section of the window. The museum on the South Lambeth Road was known as The Ark. O’Shea and his brother worked another arc, knowing the theories of Gothic architecture, tracing the shape of pointed window arches to an upside down version of Noah’s Ark. Whatever was placed here would spill out of the capsized vessel. The O’Sheas knew these conventions and schemata were crutches to be dispensed with. O’Shea speaks: “I wish I had three or four like myself and we would carve all the place from time to time. I would not desire better sport than putting monkeys, cats, dogs, rabbits and hares, and so on, in different attitudes. He rushed around the site one afternoon in a state of wild excitement. He cried “the master found me on my scaffold just now. “What are you at?” says he. “Monkeys” says I. “Come down directly,” says he. “You shall not destroy the property of this University. Come down directly. Come down.” The next day O’Shea was again on top of the scaffold, hammering furiously at the window. “What are you at?” “Cats.” “You are doing monkeys when I told you not.” “Today it’s cats.” O’Shea was dismissed… but he appeared on top of a ladder in the doorway soon after, wielding heavy blows to the long moulding on the hard green stone. “What are you doing Shea? I thought you were gone.” “Parrhots and Owwls! Parrhots and Owls!” Parrhots and owls made out… Parrhots … repeating the same sound until it becomes sacrosanct… Owls… as the wise authorities of the museum… Parrhots… repeating the same sound until it becomes sacrosanct – “O’Shea, you must knock their heads off.” Their heads then went. Their bodies, not yet evolved, now remain. The story then fades. O’Shea and his brother might have stayed in Oxford, or left to roam to London, Manchester, Dublin, beyond… Finding places to fit in for a while, carving shapes that shouldn’t be… …never stopping when they should. Their stone survived. It would never be possible for it to elevate itself towards the sun in jubilation and to soar like the lark. But the O’Sheas’ stone now challenges the laws and limits that place nature at the very bottom, as the solid rock upon which universal human nature is built. Anyway, any respectable ape would deny the link of a common ancestry with man. TEXTS ORIGINS No records have been found of birthdates for John and James O’Shea, which could be anytime in the 1820s and 1830s. There are dual accounts, in Ballyhooly village in Cork and Callan in Kilkenny, of carvers by the name of O’Shea growing up there. Both locations often claim the brothers in local history publications and in the common knowledge of the area. Thomas Deane, a partner in the archi- tectural firm Deane and Woodward, is said to have discovered one of the O’Sheas “as a boy, carving a piece of timber so cleverly, he had him trained”.
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