Overlapping Spheres Singaporean Sculptor From Ireland Teaches Art and Bridges Cultures by Serena Lei The Embassy of Singapore and the Torpedo Factory Art Center are presenting the works of Singaporean sculptor Brother Joseph McNally in two concurrent exhibits titled ìA Celt in Singapore.î Irish by birth, McNally adopted Singapore as his homeland after being sent by his ministry to work in Southeast Asia as a teacher. McNally combines both Celtic and Southeast Asian culture in his use of natural materialsófrom Irish bog oak to Malaysian belian ironwoodóand in the myths that inspire his art. McNally speaks in a whisper. As a result, everyone around him speaks softer, maintaining a preternatural hush. He has a calm and genuine manner and shares his art openly. McNally often speaks of finding his sculpture inside a piece of wood, explaining that a shape emerges while he works. In this way, his abstract pieces reference the smooth, minimalist figures of Henry Moore, where the natural material divines the shape of the sculpture. However, McNallyís use of crystals and glass spheres bears an unfortunate similarity to overpriced fantasy collectibles seen in Californian malls. At the Torpedo Factory Art Centerís Target Gallery in Alexandria, Va., the centerpiece of the exhibit is a five-foot tall sculpture titled ìThe First Big Bang.î This is a working model of a larger millennium sculpture at the Ministry of Information and Arts in Singapore. McNally was charged with creating a piece that addresses the concerns of mankind in the new millennium. The artist chose what he believes are our two greatest concerns: exploring space and exploring ourselves. The sculpture is a stack of four spheres, each one smaller than the other. The bottom and largest sphere represents the Big Bang explosion through shards of opalescent glass; the next three represent each millennium. Twisting strands of green pearls representing DNA connect all three spheres. As a follow-up piece, McNally made ìCreator,î which, in his words, is ìa figure of the divinity holding the universe in its lap.î It is difficult to imagine that the same artist who represents God in a simple and powerful curve of sandalwood also created the visually confusing and melodramatic ìBig Bang.î The exhibit also includes a few of McNallyís sculptural interpretations of Chinese calligraphy. The characters progress from the more literal ìInfinity,î where the sculpture nearly recreates the brushstrokes in three dimensions, to the more abstract ìFlower,î which explores the disciplinary act and art of calligraphy. ìIf I had another life to live,î McNally said, ìI think I would spend much more time studying the interpretation and evolution of Chinese characters.î The exhibit at the Embassy of Singapore finished on July 19; however, one of McNallyís sculptures will remain on permanent display. Among the sculptures at the embassy was a new piece titled ì911,î which depicts the collapse of the World Trade Center. The two towers are replicated in light oak, with red-colored glass and wire mesh representing fire and smoke. The explosion and collapse of one tower is carved out of the roots of an apple tree. McNally has been praised for his cross-cultural work, both in life and art. ìWhen I compared the Celtic attitude to the Southeast Asian attitude, I found a tremendous similarity,î he said. McNally calls Singapore his ìfirst love,î saying that he was attracted to the courtesy of its people and their respect for education. He retired from teaching in 1983 and founded the LaSalle-SIA College of the Arts in Singapore, serving as its president for 18 years. In 1997, McNally received Singaporeís Meritorious Service Medal for his work as an artist and teacher. As a Christian, McNally believes God inspires his work but that his art is still accessible to all. ìAn artist takes inspiration from all kinds of things, including life around her or him Ö from humanity and beauties of landscape,î he noted. Although his work often makes references to the Bible, McNally also draws from cultural myths. ìThe Children of Lir: Kin Lir, Finola, Aed, Fichra and Connî is a bronze depiction of King Lir speaking with his four children who have been turned into swans by his jealous second wife. It is a lovely and sad sculptureósimple, elegant lines carved out of untreated dark wood, and not a crystal in sight. McNallyís work is best when he follows the wood and stone, achieving a great deal more with less. ìA Celt in Singaporeî runs through Aug. 11 at the Torpedo Factory Art Centerís Target Gallery, 105 North Union Street, Alexandria, Va. For more information, please call (703) 838-4565 or visit www.torpedofactory.org, or contact the Embassy of Singapore at (202) 537-3100. Serena Lei is an arts writer for The Washington Diplomat.