Within Atrium 
End View 
Voice from the Entrance 
Viewed From the Grounds 
Detail of Lattice Work 
Detail of Stone Carving
The Concept
I wanted the work to appear partially transparent, lightweight and playful while remaining relevant to the context and the brief, which mentioned only three words: time, liberty and atonement. The idea came about quite quickly, not only as a dynamic sweeping gesture in contrast to the glazed grid but also as a symbol of transformation, alluding to an alchemical journey from the dark matter of a stone toward the sky, from blackness toward light. The implication of ʻreleaseʼ is suggested through the idea of sound, voice or of ʻfinding one’s voiceʼ but, somewhat contrarily, from the outside to the inside of the building.
Technical Challenges
With a project of this nature, bespoke to fit the narrow space of the building's atrium, there inevitably will always be big challenges.
Design & Construction
The artwork would measure 63m, divided into 10 sections. First, the form was sketched out in AutoCad from my pencil and string proposal drawings. I then made a 1:20 3m model and the engineers produced a trial sub-frame section to test for flex and strength and for me to experiment with how best to achieve the surface. They proposed a fuselage-type construction with no need for an inner core, made entirely of stainless steel hoops and flats. Over these tubular skeletons, I wrapped a stainless mesh, creating a semi-transparent surface to give shape and support to almost 3km of brass strips.
Constructing work on this scale meant that I had to do a lot of tests and trials to refine both the look and method of its construction. Any unforeseen problems could be very costly both in time and expense. The biggest headache was to try to predict the line of a63m curved and tapering multi-ply helix. My studio could only take 2 x 6m sections side by side, so I had to work ʻblindʼ from one section to the next in terms of setting out the frequency and continuity of the swirl of brass, as it would be seen from underneath and at a distance.
Brass Lattice Work 
Working with Michelle Byrne
On Site Installation
Moving the 10 x 6m sections around was a big part of the planning. I had an 8m purpose-built trailer made up, which had adjustable supports at each end. This gave me the freedom to move each section in and out of the barn / workshop and bring them all to Longford more cost effectively. The two largest sections and the granite stone had to be delivered by lorry.
The complex installation, which involved me, two engineers and a crane operator working for eight ten-hour days straight. We drilled and fixed eyebolts into the ceiling beams, 15m overhead, from a mobile access platform. Each section was then hoisted into position, fixed to the suspension cables and bolted together, and so on and so on. I then attached brass cover collars over each joint It was difficult and potentially dangerous but came off without any major hitches. What a relief after nearly five years! In the weeks thereafter, a granite stone was installed into an exact position, angles an measurements taken and a 300 x 600mm hole core drilled for the final 8.5m section secured into place. This lined up exactly with the main ʻhornʼ suspended inside and came to rest 100mm from the glass curtain wall. Again, this was tricky as its full weight and length were cantilevered from the stone.
Transporting Voice to Longford 
External Installation