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Shame

Artist (b. 1957)
Date1996
MediumMixed-media installation
DimensionsVariable: approx 180 x 280 x 300 cm
ClassificationsMixed Media
Credit LineCollection & image © Hugh Lane Gallery. Donated by DHL, 1997. © Patrick O'Reilly.
Object number1907
DescriptionWhile Patrick O'Reilly briefly studied in Belfast College of Art from 1975-76 he is in essence a self-taught artist. His work is characterised by beautifully crafted, visually imaginative and sometimes humorous sculptural pieces. He has wittily adapted familiar objects in order to comment, often sympathetically, on the banality of existence or the insidious collusion of society in acts of cruelty.

Shame is a mixed media installation that articulates man's cruelty through the ritual of the bullfight. Here, an elegant picador has let his mask drop to reveal a stuffed bull's head. A blood-splattered toy-like bull lies on the ground. In the background four screens simultaneously replay the crowd's applause at the moment of a bull's death. A plaintive tune plays continuously. O'Reilly draws inspiration from a number of nineteenth-century writers, including the moralizing English poet Martin Tupper, whose work 'Proverbial Philosophy' enjoyed publishing success. In the late 1990s O'Reilly began to work in bronze and was based in Central France. Often humorous, these works are pervaded by an air of surrealism that imbues the animal figures with human characteristics. Based in Dublin, he as been commissioned to make several outdoor sculptures including Big Bird for temporary exhibition on O'Connell Street and Queen Maeve which stands on Burlington Road. He exhibits frequently in London, Paris and Amsterdam.

On View
Not on view
Bogwater and Bullwire
Terence P Flanagan
c. 1975
George Bernard Shaw
Sir Bernard Partridge
c. 1925
Cats in the Kitchen
Nano Reid
c. 1952
Screen
Matt Calderwood
2005
Michael Hamburger
Tacita Dean
2007
Breathing Bag
Patrick O'Reilly
1998
The Ninth Hour
Mainie Jellett
1941
Abstract
Evie Sydney Hone
1925-1930
Composition
Evie Sydney Hone
Composition
Mainie Jellett
1930