Spotted during the Christmas holidays, replacement bricks on the Corish roundabout, Wexford. As part of his work Adventure: Capital at the 2015 Venice Biennale, Sean Lynch revisited a piece of purported vandalism-come-temporary public sculpture from March 2008, as reported in The Daily Mirror. In 2015, Lynch collaborated with the local council to have bricks removed from the roundabout and relocated to Venice. The work has since travelled and is currently on show as part of Devil in the Detail at Ronchini Gallery, London until 20 January. Daly & Lyon designed the accompanying publication and exhibition graphics.
From the publication: ’It remains unknown who dug up and stacked those bricks that night in Wexford, or if they recognise or care who Carl Andre is. Their intervention and positive reportage in The Daily Mirror mark a change, however minor, years later in its editorial policy towards the use of bricks in art. No longer are they to be trampled underfoot, alienated and lampooned. Bricks are now acknowledged as part of humanity’s creative landscape. It might be valuable to enjoy this fact, perhaps even useful to think about how we locate ourselves in a world where nothing ever stays the same.’
Sean Lynch, The Hungry Tree, 2017, detail.
Two photographs detail a London plane tree in Dublin, known locally as The Hungry Tree that has gradually grown over an innocuous park bench nearby.⠀
Lynch’s images, taken ten years apart from the one viewpoint, encapsulate the time and space of this unusual occurrence, performing a long term study of minute changes as a manmade object is literally swallowed up by nature.
Devil In The Detail, Sean Lynch’s second solo exhibition at Ronchini Gallery, London.
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