Statement
"Shoah" Minimal Metaphors
The Holocaust is the central focus of this complex body of work by the artist David Dunne. In the course of a trip to Germany and Poland, Dunne visited the concentration camps of Sachsenhausen, Treblinka, Majdanek, Auschwitz and Birkenau. This exhibition four years later is the result of that initial confrontation with the concentration camps. Why would an Irish artist from Dublin with no obvious connection with the holocaust become so consumed by this history? Perhaps, one answer is the notion of bearing witness, in an age where a new generation of fascists simply claim that the holocaust never happened. Significantly, this work has been created at a time when our own nation confronts internal racism, for the first time, as we quickly change from a mono to possibly a more multi cultural state. Our own path in relation to this change is not certain.
The strength of this work becomes apparent when one engages with Dunne on his personal journey, as he revisits history and explores this tragedy from the perspective of a humanist and a maker of objects. Dunne's preoccupation with human suffering was signalled previously in his exhibition at the Jo Rain Gallery, 1995 entitled Wounds' Journey, Displacement and Home are the dominant themes of this series of work. The central visual motif of the exhibition is the 'House', presented as a small, dense often black, impregnable object. These bronze houses offer no shelter, their sides resemble granite like shale, which hold no hope of entrance to their dark past. 'Sleeper' is an elegant and successful example of this series which coherently combines the motif of the house form, with a roof structure which draws an analogy with railway tracks and between these tracks are little pits containing silver teeth encased in glass. This combination of images relate to the final journey and residual bounty taken from those unfortunate people, who perished in the camps. The piece brings to mind the work of Joel Shapiro in terms of form and scale while appearing also to share a concern for a collective healing process evident in the work of Joseph Beuys.
The uniform structure of the show demonstrates a formal approach to sculpture. This structure also demonstrates Dunne's development and maturity as a sculptor as he explores this intensely traumatic material in a restrained non overly graphic manner, allowing the subtle forms and material to speak quietly and eloquently.
The work entitled 'Babi Yar' relating to the pits where the bodies were disposed of is presented as a simple rectangular form, hollowed and gouged out. It is the patination achieved in rich mournful tones of ochres and greens, which creates a minimal yet evocative presence. 'Bed Rhymes' depart from the house motif but retains the sense of domesticity in the form of simple beds. Encased within these bed forms, under a layer of glass, are burnt fragments of text relating to testimony of the tragedy.
His experience of working with bronze and combining it with other materials is borne through with consummate skill. Many of the house forms incorporate other materials including lead, silver, limestone, however, in doing so Dunne utilises materials as separate solid blocks seemingly incapable of allowing interaction between each other. This separation encapsulates the material metaphor within the work, emphasising mans ability to retain an impermeable mind set capable of grotesque horrors, while behaving with a veneer of organised normality and efficiency. Dunne brings his compassion and his considerable skill to speak poetically and passionately through these works.
- Mike Fitzpatrick, Clonmoney, May 2000.