Review

A review of Brendan O’Shaughnessy's My Existence: Debut Intaglio Printmaking Show; An Exploration of Existence and Meaning

Brendan O'Shaughnessy, detail "Storge, Philia, Eros, Agape," intaglio print. Image: courtesy of the artist

Bridgeport Art Space
Kansas City, Missouri
June 4 — 30, 2010*

Where am I? Why am I here? What is happening? What should I be doing?

These fundamental questions, which many great thinkers have utilized in the struggle to define humankind’s place in the universe, serve as a starting point of exploration for Brendan O’Shaughnessy’s autobiographical exhibition.

The exhibition, appropriately set in a church-gallery, presents a man who is eager to share his conviction with the world and is not afraid of the repercussions of being so vulnerable in the process. The information is presented in an open and direct manner, drawing inspiration from some of the best modernist designers, which allows the Christian subject matter to prevail throughout most of the exhibition. For My Existence, O’Shaughnessy combined his interest in classical intaglio engraving (invented in the 15th century) with contemporary design prowess and attraction to the depths of thought that conceptual art is known for, to address his revelation of the spiritual, physical, and eternal.

Brendan O'Shaughnessy, "Lost Red Rubber Ball," intaglio print. Image: courtesy of the artist

The exhibition itself is set up to mimic the cyclic nature of life and is composed of eight intaglio prints and one “interactive” installation, which take the viewer on O’Shaughnessy’s spiritual journey. The prints act as the story line and are linear in their chronology, modestly sized and elemental in design. To help the viewer navigate, O’Shaughnessy designed acrylic plates that include not only the title of the works but narrative text. Time starts with the process of questioning and the search for a higher truth. Most of the works within the exhibition are quite literal in their depiction, with the artist preferring to narrate a straightforward story as opposed to embellishing it in obscurity, and this direct communication helps the viewer access it. Many prints possess a similarity to Paul Rand’s approach to design, relying on collage, elemental symbolic forms, and dynamic juxtapositions. Taking notes from him and other Modernist pioneers of design, O'Shaughnessy creates very legible work.

The first print in the exhibition, Storge, Philia, Eros, Agape,  (the four Greek words for different kinds of love) consists of two humans occupying the same realm, yet there seems to be a lack of communication between the two bodies. The heads are near, verging upon intimacy as if one could kiss the forehead of the other, yet the two are frozen at a distance. Loneliness drives this powerful composition: the accompanying text reads, “I looked within for truth: I found none.” Storge, Philia, Eros, Agape depicts a longing for communion and is perhaps one of the most powerful pieces of the prints because it able to create an empathic response in the viewer. O’Shaughnessy is able to conjure this reaction because the struggles he is attempting to articulate are universally human. We all are accustomed to feelings of loneliness and despair, and we may — regardless of adherence to any faith — regress to moments of utter meaninglessness, if only briefly, at some point and time.

Brendan O'Shaughnessy, detail of "Criss-Cross/Death Rose," intaglio print. Image: courtesy of the artist

Criss-Cross/Death Rose follows, depicting a cross on top of what appears to be blood, printed in a series of finely detailed blotches. The visual form of the image is powerful in its bold communicative qualities, and the personal transition in the narrative is obvious from the image alone, which makes one question the use of the narrative text. Is it necessary? Why can’t all of the images speak for themselves? Regardless of this dilemma, this image suggests that from the depths of loneliness and despair O’Shaughnessy found Christ’s story of redemption and acceptance. As far as the story line goes, this is where the artist's identity starts to take shape. From here on out, the rest of the exhibition includes obvious references to Christianity. In fact, the next piece in the series (Father/Son/Holy Spirit Creation) shows a revelation of the Holy Spirit, so overwhelming that a hooded man (presumably O’Shaughnessy) has fallen upon the ground, having “found the larger story.” Words are etched into the print in a manner similar to that of another great Modernist designer, Alvin Lustig, whose occasional dabbling with typographic handwriting elements can be found for example, in the classic cover art of Tennessee William’s 27 Wagons Full of Cotton and other plays.

Brendan O'Shaughnessy, "Wax on, Wax off, Wane on, Wane off," intaglio print. Image: courtesy of the artist

Just because O’Shaughnessy has “found the larger story” doesn’t mean that he was freed from the struggles of this earth, of course. The next print, titled Wax on, Wax off, Wane on, Wane off, depicts him weary-eyed and surrounded by pictographs of the phases of the moon, searching amongst the cosmos for the wisdom and acceptance of his God. Wax on, Wax off, Wane on, Wane off is one of the prints that obviously reflects multiple passages from scripture, in particular, Psalm 42, which deals with the yearning for God: “My soul thirsts for God, for the living God. Where can I go and meet with God? My tears have been my food day and night, while men say to me all day long, 'Where is your God?'”** The print depicts a time when O’Shaughnessy was struggling with his new-found faith, reconciling old habits with those of freedom and learning how to commune with and be obedient to his calling. Mostly, as the narrative text states, he was experiencing “a longing to reflect what he found” amidst the demands of this world.

We eventually, in the next print of the series, see O’Shaughnessy receiving “infinite grace.” In Eternal: Infinite New Beginnings, he has his arms outstretched in a prayer pose and is adorned by a halo and looking upward as in receiving God’s blessing. However, being human, he regresses back to the struggles of this earth. Lost Red Rubber Ball follows this and is a bare interpretation of regression. The print is distorted, consisting of sketchy, jangled lines. This is where we first see Brendan's personal emblem. It is depicted in a fashion similar to the mapping of thoughts, yet the line work is just as ragged, echoing pain and confusion. The artist occupies the background of the image in a state of relapse and confusion.

Brendan O'Shaughnessy, "Marked," intaglio print. Image: courtesy of the artist

After essentially giving us his personal journey in the Christian faith, O'Shaughnessy presents Marked. Consisting of the trademark associated with his own clothing line, Lovesick Clothing, and design work printed on top of an abstraction of water molecules, this symbol also serves as a personal emblem. According to O’Shaughnessy this logo is both personal and professional, and it relates to his unique calling and to the voice he has felt to have received from God. This is the point in the exhibition where his identity is confirmed. Marked ends his coming-of-age journey in the Christian faith and confirms his transition into an active participant within the world.

Brendan O'Shaughnessy, detail of "+/-," intaglio print with Braille. Image: courtesy of the artist

The final print in the story line, titled +/-, is conceptually the most challenging one in the exhibition. Simple in design, it consists of a plus and a minus sign printed on top of a parable written in Braille. It is first and foremost about finding a balance, and secondly, a step into challenging the community. The narrative text reads: “ I Choose G-D’s divine romance: living dead today, so I may die living tomorrow.”*** Most are denied from what the parable states. This is a bold critique on contemporary society and the church; essentially O’Shaughnessy is stating that society doesn’t want to have to work for its convictions because this implies struggle — we don’t want to work for an answer. It is perhaps a bit brash of a statement, but it is covered up in a restrained fashion. The blind cannot touch the Braille (the print is behind Plexiglas), and most people with vision don’t have any immediate way of interpreting the text unless one is willing to make the connection to the last part of the exhibition.

Across the gallery, on the south wall above burning candles, hangs a key for transcribing the Braille alphabet: a minimalistic, sheer white rectangular sculpture with embossed Braille under a layer of acrylic. If one is willing to take the time here, the text reveals a gentle message that O’Shaughnessy believes to be profound: “Jesus Heals.” The subtlety of this message is appreciated in an age where many resent the Church.

O’Shaughnessy manages to take us on his personal journey, barely verging on the preachy evangelical who's hell-bent on conversion, a stigma Christianity has unfortunately received (and even this is for the most part, hidden — you have to work for it). Yes, the show is quite literal, but it is interesting to witness someone illustrate his spiritual journey with such prowess, especially within a society that is increasingly becoming secular. It appears that O’Shaughnessy has found a perfect match in the healing potential of art and the Christian faith to help him answer life’s vital questions.

Notes:

* Open by appointment only; to contact the artist, please email brendan@brendanoshaughnessy.com,or call the church office: 816-830-7088.
** Ps. 42: 2-3 NIV (Zondervan: Grand Rapids Michigan, 2005. p. 470-471)
*** By writing "G-D," one claims that God is truly wild and mysterious and cannot be categorized by name.

-re-

Popularity: 3% [?]

Updating...