'Faithful Images' records Offaly's journey with public art

“FAITHFUL IMAGES”, a new publication recording Offaly's journey with public art, has hit the book stands.

The work, the fruits of the labour of architect and town planner, Fergal MacCabe, and photographer, Paul Moore, was officially launched by the Cathaoirleach of Offaly County Council, Cllr Eddie Fitzpatrick, in Tullamore's Offaly History Centre, on Monday night last.

The book was a labour of love for the duo and they were ably assisted by Offaly County Council and Offaly History Society.

Retailing at €20, “Faithful Images” would make an ideal Christmas gift and is available from Offaly History Centre and Midland Books in Tullamore.

The attractive publication was designed by Andrew Moore and printed by Tony McCormack and his team at Print Plus to whom tribute was paid by the authors at the launch.

Formally launch the work, Cllr Eddie Fitzpatrick, described it as a “significant publication showing a wide range of public sculpture in Offaly.”

“It is a very impressed and detailed production featuring photographs and design which are excellent,” stressed Cllr Fitzpatrick.

In a wide ranging address, Fergal MacCabe said his collaborator, Paul Moore, “whose totally original way of looking has made such a deep impression on us in the past few years, has 'got' the county and I am extremely proud to be associated with him on this joint effort.”

He added: “When the text was complete and all the photos taken, the work went out of our hands and into those of possibly the most important member of the team-the designer of the finished work Andrew Moore- whom we must now thank for the production of a most handsome volume. And we must also acknowledge its obvious quality and finish which is the work of Tony McCormack and his team at Print Plus.”

As with all projects, reflected the speaker, “you often know more at the end than you did at the beginning and in putting together these essays It began to dawn on me how public art in Ireland may be divided into four distinct phases and how Offaly is a good test bed for this theory.”

“Before 1914 public statuary was largely about dominance-who was in charge either in terms of culture or land ownership- and most works up to then are images of Kings, of Queens, of Generals, Admirals or landlords.

“From the early 1920s and up to about 1970, the great majority of new works were about absorbing the impacts and effects of the War of Independence, the Civil War and the Great War and also reflecting the increasing dominance of Catholic culture. These demanded a mood of seriousness, solemnity and devotion and were generally provided in the familiar form of celtic crosses and peopled by stern men and grieving women

“But by the 1970s, EU money began to flow and an explosion of public art resulted. Through the Percent for Art scheme, art installations began to appear on roads, by-passes and public spaces, many of which introduced a hitherto unexplored sense of frivolity, joy and fun.

“From 2010 onwards this new freedom of expression filtered down to the smaller communities such as Geashill, Killeigh and Horseleap who began to commission or collect their own art to commemorate their heroes, victories, history and regrets. To my mind this fourth phase is the most interesting of all and I think that it is only going to get better.

“We might even begin to look forward to a fifth phase which would see an international competition for a major piece of contemporary art in a prominent public space in Tullamore. The new garden on the link across the river between O’Connor Square and Church Street suggests itself as an ideal site.”

Mr MacCabe concluded with a brief talk on what he considers to be the three most important works in our gazette - “Lady Muc or the Pig on the Green”, in Geashill, “The Maid of Erin”, in Birr, and the “Turf Cutter”.

In an illustrated and captivating address, Paul Moore told the large attendance of his adventures in capturing the images which feature in the publication.