Barry Flanagan

Known for his skillful work in bronze, Barry Flanagan was a remarkable sculptor and his death on 31st August 2009 caused both critics and admirers to reflect on the iconic nature of many of his works.

He began his career working with simple materials such as sand, material and rope, exploring the concept of form and well represented in groundbreaking exhibitions in the 1960s relating to that notion. It was in the late 1970s, by this time working in bronze, that he first began creating the hares that were to become his most famous signature. The lively, striking sculptures are to be found all over the world – hares running, standing, sitting, sailing, boxing with other hares, at a computer – he used the quickly popular creatures to express humor, thoughtfulness, and to offer commentary on modern life.

Of course, although the hares characterize his work for many, they were by no means the extent of his artistic abilities or explorations. Sculptures of elephants, cougars and horses adorn rooms and squares in many countries. Some of the best known were donations by the artist himself – like the horse he gave to Jesus College, Cambridge, which stands, graceful and majestic, the focus of awe, affection and student pranks, in the first courtyard visitors find on entering the college grounds.

In addition to his mastery of bronze, unusual in itself in a time when artists tended to avoid traditional methods and skills, Flanagan was also a draftsman, and engaged in both etching and photography.

He led a peripatetic lifestyle, often maintaining a residence in more than one country at the same time. He is remembered with gratitude by younger artists in whose work he saw value and whose careers he encouraged and promoted. One of these is Chris Stone, who is one of the artists in Agora Gallery’s Sensorial Realities exhibition. He is dedicating this exhibition of his work to his mentor, and has drawn together some of his memories and reflections:

“I could say so much about Barry Flanagan, words which would laud him, but he would despise this, there was no room for heroes or villains in Barry’s world.

I never heard him utter one single negative word about anyone, not ever. The time that I spent with Barry was without doubt the most creative, informative, and positive time of my artistic life. Barry was for me the “Quiet” man, his mischievous sparkling eyes would say far more than his tongue.

I remember one phone call urging me to meet him in Dublin for a book launch. The book was about the life and work of the late Irish sculptor/stone carver Seamus Murphy. “Everyone will be there” Barry urged, “Pick up your skirts and get yourself there, man.” I asked, “When?” and “Tomorrow of course” was the reply. I did manage to get there, through a series of nightmare flight connections. Barry introduced me to gallery owners during the day, Barry sat me and my wife on the best table at the Hugh Lane Gallery reception, next to the director of the public gallery and the city architects. Barry fed me at the Orchid restaurant in Dublin, introducing me to Kevin Whitney, the Olympic Artist and our dinner companion. At the IMMA, Barry took me around, he showed me off to artists the like of Louis De Brocquey and his wife Anne Madden, the author J.P. Donleavy, Enrique Juncosa, the director of the IMMA. All this when Barry should have been under the spotlight himself – after all, this was his retrospective in Dublin, Dublin was Barry’s for the period, dozens of monumental sculptures lined the main street leading from one museum to another as artists and art lovers flocked there – but he chose to turn his attentions to publicizing me. I owe a huge debt to Barry Flanagan. The art world is left with a hole that can never be filled. Thank you, Barry, for all you have done on behalf of all of us. I will miss you. ~ Chris”