Adam's MID-CENTURY MODERN 2nd November 2021

24 Tuesday 2 nd November 2021 26 JOSEPH WALSH (B.1979) LILIUM I, 2014 Ash, 320 x 215 x 75cm (h) € 100,000 - 150,000 * THIS PIECE WILL BE ON VIEW IN THE THRONE ROOM IN DUBLIN CASTLE. The Lilium I is part of the Opus collection, made up mostly of unique pieces, created for site-specific commissions or exhibitions. The series is a progression through six cycles, Enignum, Lumenoria, Lilium, Exilumen, Eximon and Erosion, which explores the sculptural properties of wood. Walsh’s studio is a converted 18th century farmhouse in Kinsale which combines a workshop, gallery and archive that brings together a team from diverse backgrounds including areas of wood work and stone carving. While it is frequently referenced that Walsh did not have any formal instruction, it is clear from his practice that there was an equivalent if not greater amount of training. He has a deep knowl- edge of his materials, and from the outset visited other furniture makers around Europe and later Japan. He works with the natural character of the wood, following the curve and lines of the material and engaging with it in a highly intuitive manner. Working on such a large scale requires not only a mastery of the visual aesthetics as well as technique and engineering. It is not simply about enlarging the original sketch and design but understanding how to actually make it function on this monumental scale. Generally, these sculptural pieces would reveal their supportive foundations, what is holding the item up and together. Yet with Walsh’s creations they almost seem to be floating, in fact the Lilium sculpture, was envisioned as being displayed suspended from the ceiling. This work, along with the other pieces in the Lilium series are made in a very specific way. The ash is stripped into thin layers and then shaped, adding layer upon layer, while allowing the material to evolve into its final form. The tightly controlled symmetry of the base, on which the sculpture rests, gradually extends outwards, becoming thinner and more free-flowing. The top surface of the sculpture takes on the appearance of tendrils, caught in a moment of flux, as if they are stretching out into the empty space, away from the central body. The shadows created by the work are beautiful to observe, with their fluid, lyrical repetitions that blur the lines between a still and living object. Niamh Corcoran, October 2021