
The awesome work of Nuala O'Donovan

Close up of Teasel.

Starfish by Nuala O'Donovan

Starfish by Nuala O'Donovan

Wait. More Starfish by Nuala O'Donovan.
I discovered Nuala’s work in Co.Design Daily, a blog from the folks at Fast Company. Co.Design is turning out to be a good source of inspiration. What I find fascinating about this work is the attention to detail and the ability to labour over one task for so long. She’s keeping these valuable traits alive.
Nuala’s Bio
Nuala O’Donovan was born in Cork City in Ireland. She spent a number of years living and working in the U.K., Australia and the U.S.A. before returning to Cork in 1997. She completed a BA(Hons) in Three-Dimensional Design at Middlesex University in the U.K. in 1994 and studied ceramics at the Crawford College of Art and Design graduating with an MA in 2008.
Since graduating Nuala O’Donovan has won a number of national awards and her work has been exhibited nationally and internationally. Her work has been purchased for private and public collections in Ireland, the U.K. and Europe. She currently lives and works in Cork City, Ireland.
Her Artist Statement
My work combines regular pattern with the characteristics of irregular patterns and forms from nature. Each element of the pattern is individually made, the form is constructed slowly over a period of weeks or months, and fired a number of times during the making process. The finished forms are a result of an intuitive response to the direction that the pattern takes as well as the irregularity in the handmade elements of the pattern.
I have used the characteristics of irregular/fractal patterns in nature as a system of constraints or guidelines when making decisions about the forms: The patterns are regularly irregular. The patterns and form are self-similar. The pattern records a response to random events during the making process. The result of using the characteristics of fractal geometry in making decisions regarding the form of the sculptural pieces, is that the form is resolved but retains a sense of potential change. The viewer engages with the piece by allowing their own visual experiences to influence their view of the outcome of the form and its future possibilities. I hope that this aspect of my work also evokes the transitory quality of living organisms, combining traces of history, the present and the future, in the patterns that make up their surfaces and forms.
My decision to research patterns and forms from nature stemmed from my interest in the narrative quality of irregularities in patterns. The history behind a scarred or broken surface is what fascinates me. The evidence of a response to random events visible in patterns in nature, is testament to the ability of living organisms to recover, to respond, and to continue growing and changing. It is the imperfections in the patterns caused by a unique experience that are evidence of the life force in living organisms.