Sean Lynch. Shortlisted 2012

Research Project: The nineteenth century stonecarver brothers James and John O'Shea.

Website: http://www.seanlynchinfo.com/

Extract from Research Proposal

Monkeys

 

Aims, objective and overall significance

In recent times I have researched nineteenth century stonecarvers James and John O'Shea, brothers who carved floral decoration and zoomorphic detail upon many important buildings completed in the Gothic Revival style. I am interested in their work on several buildings, such as the well-known monkeys playing billiards on the Kildare Street Club in Dublin (see above), not simply because of their engaging aesthetic but also the moral, social and economic factors involved in the creation and reception of their practice.

After developing a substantial reputation in Ireland, they travelled to Oxford in 1859, where they worked with John Ruskin in the construction of the Museum of Natural History. The brothers received several cash bonuses from Ruskin for their work, and were recognized as masters of their craft. When funding, by public subscription, for the Museum dried up (due to conservative reactions to Darwinian evolution theories the Museum was to espouse), the O'Sheas offered to work unpaid, but were accused by the university authorities of 'defacing' the building by adding unauthorized work, with a somewhat appropriate addition of monkey carvings. The brothers then caricatured the authorities as parrots and owls in another carving. Subsequently, the O'Sheas were fired and returned to Ireland where they spent the rest of their times erecting headstones in graveyards around Kilkenny. The controversial carvings in Oxford were hacked off, and this defacement is today still visible. (This contemporary photograph shows James O'Shea at work in Oxford in 1859).

After developing a substantial reputation in Ireland, they travelled to Oxford in 1859, where they worked with John Ruskin in the construction of the Museum of Natural History. The brothers received several cash bonuses from Ruskin for their work, and were recognized as masters of their craft. When funding, by public subscription, for the Museum dried up (due to conservative reactions to Darwinian evolution theories the Museum was to espouse), the O'Sheas offered to work unpaid, but were accused by the university authorities of 'defacing' the building by adding unauthorized work, with a somewhat appropriate addition of monkey carvings. The brothers then caricatured the authorities as parrots and owls in another carving. Subsequently, the O'Sheas were fired and returned to Ireland where they spent the rest of their times erecting headstones in graveyards around Kilkenny. The controversial carvings in Oxford were hacked off, and this defacement is today still visible. (This contemporary photograph shows James O'Shea at work in Oxford in 1859).

I am specifically interested in this history because of the challenges that the O'Shea brothers' craft posed to the British establishment of the time, and their subsequent censorship by the Oxford authorities. I wish to complete research on the subject through presenting an exhibition of stonecarving, photography and writing based around this legacy, in Dublin in March-April 2012.

The proposed project continues my research into undervalued aspects of Irish art history through artistic endeavour. Working in a manner akin to a historian, my previous projects have considered moments of the past often forgotten or neglected by popular consciousness. By attempting to recollect such pieces of knowledge, my photographs, sculptures and installations reflect on the nature of history itself as a mode of representation. Many of my projects revolve around ideas of labour and craft: for example in recent times I have completed a survey of the work of Kerry stuccodore Pat McAuliffe (1846-1921), which resulted in a museum dedicated to his work in Listowel.

Proposed Research Methods and Timescale

I will conduct a research trip to Oxford in early January to follow up some research in archives, and document the contemporary condition of the window of the O'Sheas' censorship. I will also identify a skilled stonecarver in Ireland to work with.

In February 2012, I will work with the carver to attempt to reconstruct the disappeared detail of the O'Sheas' work upon a new piece of limestone, as a way of putting my research, very literally, to work. Based upon the research gathered in Oxford, the project will attempt to find a way of understanding the lost detail of the O'Shea window there. A completed stone, documentation of this process, and booklet that details research information about the O'Shea brothers, will constitute a final presentation.

Proposed outputs and dissemination methods / Expected audience for the research

Photographs, a stonecarving and a small freely distributed information booklet will form an exhibition at the Kevin Kavanagh Gallery. The gallery actively promotes its exhibitions, and so there will be a wide interest in the project including educators, artists, craftspeople and the wider public. A talk about the exhibition will also be held at the same time.

Outline of financial needs and proposed budget