This artwork was commissioned by the Office for Public Works as part of the Per Cent for Art programme. The image is abstracted from my own fingerprint.
The sculpture consists of an anamorphic (distorted) fingerprint, stretching across the reception area walls. This image appears as a distorted pattern from most angles, but resolves itself when viewed from the opposite corner of the reception area.
Anamorphism has existed in artworks since the discovery of technical perspective, and the earliest examples are found in the sketch books of Leonardo da Vinci. The image of a fingerprint (evidence) has been made ubiquitous through film and television courtroom dramas, and immediately draws to mind references to the criminal justice system. The intersection of these two notions is the inspiration for this work, and as with traditional anamorphisms, this work is mainly for the amusement of the viewer.
Public sculpture should be approachable, with elements of whimsy and humour. This composition, with its oversize fingerprint image, allows the viewer to step inside the work. It encourages interaction; a natural impulse is to attempt to locate the perfect viewing angle of least distortion. The view of the image from the second floor of the Garda station allows for a more abstracted contemplation of the work as a composition of lines and forms.
This work relates to other large scale works which I have created.
The Emo Court Visual Artists Symposium 2005, "Evidence 2005".
Sculpture in Context 2006, "Evidence 2006".
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