https://www.piliduncan.com/biography daily 0.75 2024-05-24 https://www.piliduncan.com/contact-us daily 0.75 2022-06-14 https://www.piliduncan.com/sculpture daily 0.75 2022-10-02 https://images.squarespace-cdn.com/content/v1/624c6353925bcc3ab946bd2e/b906176b-8538-4ee4-ba5e-532b1a73b4cb/L1020746.jpg Sculpture Sculpture in Context Exhibition, National Botanic Gardens 2005 Bloom Garden Festival, Phoenix Park, 2007 Photography, Photoshop & Decoupage https://images.squarespace-cdn.com/content/v1/624c6353925bcc3ab946bd2e/8d6ec3a4-fa47-4be7-b993-81fbc1f6e328/L1030600.jpg Sculpture - Ode to the Great Irish Famine This sculpture was created to commemorate the Great Irish Famine (1845 - 1852). It was exhibited at Sculpture in Context Exhibition in 2006, 160 years to the day, after Potato Blight in Ireland, was first identified in 1845, at the National Botanic Gardens Dublin. The sculpture is made with Carrickmackross lace, using an original pattern created by the artist, which depicts images of the potato plant. This lace is used to line a pair of women's Wellington boots, to represent the transition from working in the fields to making lace for survival. https://images.squarespace-cdn.com/content/v1/624c6353925bcc3ab946bd2e/8538a973-19bf-461c-966c-8b1cfaacdf38/Smaller+boot+copy.jpg Sculpture - Sculpture in Context Exhibition, National Botanic Gardens 2006 Carrickmacross Lace Carrickmackross lace is an old Irish craft which dates back to the 1820’s when a Mrs Grey Porter, wife of the rector of Donaghmoyne, in Co. Monaghan brought back a sample of lace from her honeymoon in Italy. She set about copying this lace and taught her servants this new craft. Soon lacemaking skills were taught to the peasant women around the area. A lacemaking school was set up in Carrickmacross, Co. Monaghan in 1846, providing women with an alternative to the heavy work in the fields. This was the time of the Great Famine in Ireland, and these lacemaking schools made a huge contribution to the survival of many families. Through lacemaking families were able to "pay the rent "or "buy the (potato) seed". In many cases, their earnings were used to buy passage on emigrant ships to America. This sculpture represents our ties with the earth in the past and how when the potato crop failed, these Irish women turned to lacemaking in order to earn a living and survive. ‘Ode to the Great Irish Famine’ pays homage to these women. POA https://images.squarespace-cdn.com/content/v1/624c6353925bcc3ab946bd2e/e977b343-86f8-4fcb-9df6-021b1825b02c/Untitled-1.png Sculpture https://images.squarespace-cdn.com/content/v1/624c6353925bcc3ab946bd2e/a70729e7-f397-4062-849d-ec49162ddcff/Retouched+Grass-2.png Sculpture https://images.squarespace-cdn.com/content/v1/624c6353925bcc3ab946bd2e/5f002dfb-8e4b-406f-93c5-b1dad3a21ba6/Final+Butterflies+on+white+cut+out.jpg Sculpture Papillon This sculpture has an environmental theme around the Victorians’ fascination with natural history and the collection of butterflies. The concept is based on the Victorians’ cruel obsession with collecting, identifying and showcasing real butterflies, which contributed to the loss and decline of many species, some now extinct. This concept shows a world without colour. The sculpture depicts the rich patterns created by butterfly veins. These become more visible when the colour is gone. The absence of colour presents a visual paradox and conveys a sense of loss due to extinction. The veins on a butterfly’s wings create a pattern which is independent of the striking colour patterns. The wing venation provides structural support for the butterfly and is used as a diagnostic tool for the classification and identification of butterflies. I have used blind embossing to accurately recreate the veins on each butterfly, thus showing an alternative hidden beauty. This is a paper sculpture which has been blind embossed, pinned and labelled. The sculpture accurately identifies some of the butterflies which were collected by the Victorians. The use of paper and delicate embossing represents the vulnerability of butterflies. POA In Irish folklore, it is believed that butterflies represented the soul waiting to pass into the other world. Sculpture in Context, National Botanic Gardens, Dublin in 2004. Paper, wire, wood, ink & paint. https://images.squarespace-cdn.com/content/v1/624c6353925bcc3ab946bd2e/6da70d57-5ddc-4cd8-be66-f4715c29189e/FROGS+Straight.png Sculpture https://images.squarespace-cdn.com/content/v1/624c6353925bcc3ab946bd2e/b42d37c7-ddc0-4162-b47a-4003c87eb7f1/sice2%5B1%5D.jpg Sculpture https://www.piliduncan.com/photography daily 0.75 2024-05-24 https://images.squarespace-cdn.com/content/v1/624c6353925bcc3ab946bd2e/b759f76b-1d11-477d-94a7-dc290a573094/Kirsty+Bath+Cropped+L1020016.jpg Photography https://images.squarespace-cdn.com/content/v1/624c6353925bcc3ab946bd2e/bdda35c2-397c-44e9-a475-0c8b714a395c/Snapchat.jpg Photography https://images.squarespace-cdn.com/content/v1/624c6353925bcc3ab946bd2e/9d1aa6aa-1ad3-42f8-9823-6e62412c3ecc/Retouched+Digital+Hub-2.jpg Photography https://images.squarespace-cdn.com/content/v1/624c6353925bcc3ab946bd2e/8b4ff014-62b8-4434-a19e-ebf07b86e1d8/20210513_170556.jpg Photography 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