Lot 14
140 x 40 x 50 cm
glass, brass and copper
incised with signature and dated '94 verso
Exhibited: A Terrible Beauty - New Sculptures by Brother Joseph McNally, 29 Oct. - 6 Nov. 1994, The Gallery LASALLE-SIA College of the Arts, Singapore, illustrated on the cover of the exhibition invitation ; Literature: A Terrible Beauty - New Sculptures by Brother Joseph McNally, LASALLE-SIA College of the Arts, Singapore, 1994, unpaginated, item no. 8.
約瑟夫.麥納利 修士《Datin Brigid 达汀布利吉德》1994年作 玻璃 黄铜 铜
款识：Brother McNally '94（背面）
展览：新加坡拉萨尔-新航艺术学院画廊《利害的美——约瑟夫·麦克纳利修士的新雕塑》1994 年 10 月 29 日至 11 月 6 日 展览邀请函封面上的插图 ；出版：《利害的美——约瑟夫·麦克纳利修士的新雕塑》拉萨尔-新航艺术学院 新加坡 1994 年 未分页 编号8
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Notes:
Joseph McNally’s Datin Brigid (1994) is a striking sculpture that harmoniously merges natural materials and spiritual presence through a deeply symbolic female figure. Constructed from glass, brass, and copper, the sculpture stands at 140 cm tall and showcases McNally’s signature style of blending organic form with spiritual reverence. The figure is elongated and elegant, with a serene, faceless visage that reflects McNally’s inclination toward universal human themes. A cascading form resembling tree leaves arches protectively over her head, further reinforcing themes of shelter, femininity, and reverence for nature.
This work was prominently exhibited in A Terrible Beauty – New Sculptures by Brother Joseph McNally, held at The Gallery, LASALLE-SIA College of the Arts, Singapore, from 29 October to 6 November 1994. Notably, Datin Brigid was chosen for the cover of the exhibition invitation, underscoring its central importance in the show. In both form and symbolism, the piece reflects McNally’s dual identity as an Irish-born educator and artist who immersed himself in Southeast Asian culture. His work frequently grapples with the fusion of Western Christian iconography and Eastern spiritual and cultural motifs, evident here in the poised grace and sacred quietude of the sculpture.
The title Datin Brigid invites interpretations linked to Saint Brigid of Ireland, a figure associated with fertility, wisdom, and the hearth, and possibly McNally's homage to both Irish heritage and feminine divinity. Through translucent glass and oxidized metal, McNally crafts a timeless vision of maternal strength and mystical aura. The juxtaposition of fragile and resilient materials—glass for inner luminosity and copper for strength—echoes the thematic contrasts explored throughout the exhibition, as referenced in the catalogue A Terrible Beauty. In this sculpture, McNally not only celebrates womanhood but also meditates on cultural hybridity and the sacredness of the human form within nature.
展览：新加坡拉萨尔-新航艺术学院画廊《利害的美——约瑟夫·麦克纳利修士的新雕塑》1994年10月29日至11月6日展览邀请函封面上的插图;
约瑟夫·麦克纳利修士是一位出生于爱尔兰的教育家、艺术家与远见卓识的思想家，他对新加坡的文化与艺术教育领域留下了不可磨灭的印记。麦克纳利一生致力于通过艺术培育心灵与思想。他于1946年来到新加坡，在教育界服务数十年后，于1984年创立了圣巴特里克艺术中心——这一机构后来发展成为拉萨尔艺术学院（LASALLE College of the Arts），正是他坚信艺术具有转化人心力量的明证。
麦克纳利的雕塑创作体现了他对精神性与人文主义的终生探索。他主要使用铜与木材创作，其作品形式内敛、富有沉思气质——常带有冥想般的静谧感。他对工艺的执着与对材料的敏锐感知相辅相成，使得其雕塑作品在静谧中散发出优雅的力量。通过抽象的表现，麦克纳利探讨“存在”、“尊严”与“超越”等普世主题，鼓励观者驻足沉思。 - Condition: The sculpture is in good condition.
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