'est quid amabo nisi, quad aenigma est'
[and what am I to love, but the enigma] ~ DeChirico on the making of art

Rory Breslin studied art in Dublin at the National College of Art & Design. He went on to work in stone workshops in Wicklow, Ireland and Carrera in Italy. Further travels saw him working in bronze foundries in Dijon, France, Moravia, Czech Republic and in Bratislavia, Slovakia.
He returned to Ireland where he founded the 'Head Sculpture Galleries' in Temple Bar and Talbot St. Dublin and organised major sculptural exhibitions in the Royal Institute of Architects of Ireland and in the College of Technology, Bolton St. both in Dublin.
He co-built the Callow Bronze Foundry in Mayo, Ireland, lectured in the Sculptural Dept. of the National College of Ireland for three years and has done specialised work for a number of film companies.
He has had numerous solo drawing and sculptural exhibitions and has executed a large body of public commissions.
He is currently living and working in the West of Ireland on an exhibition of drawings and sculpture for the Galerie Stam, Amsterdam.

Artists Statement
I am very wary of making statements with regard to motivation even after working as an artist and sculptor constantly for over twenty years. Perhaps `making art' could be described as a vocation, a compulsive need to learn, a desire to continue on and expand the ongoing search for reason as have occupied the minds of our historical and artistic predecessors or perhaps it's a form of psychosis modern psychologists have not found a term for yet. Neither Jung, Freud or a host of other notaries were able to fathom the motivation or drive, or indeed the necessity for the making of art. I don't believe I can put my finger on it either. Suffice to say that when a piece `works', (it could be conceived as being Whole' or 'finished') and that is a rare enough event, perhaps there is released in ones mind some aesthetic and addictive pheromone. Whatever induces this motivation, the result is a permanent cerebral hum that keeps you awake at night working out the technicalities and possibilities of the piece you are working on or are about to commence (or indeed the mistakes!) and jettisons from your bed in the morning eager to tackle the lines and the angles. Where your friends eat out, you buy your paint; where they purchase new clothes, you purchase plaster. Normal for them, and normal for you.
With regard to the work as opposed to why you do it, again there is a difficulty and unease in being able to definitively describe what the work is about. For me it is easier to regard a piece of sculpture or a drawing, especially one of my own as a short piece of music; instead of imagining a grand theme, the sculptures individually can be thought as variations of musical quintets; some andante, some scherzo and some adagio in terms of tempo.
Given this perspective, the fixed position, i.e. the stance of the figure will decide the sculptures rhythm or score; the muscular tones will act as melodic double bass/cello giving body to the work; the range of lighting, from shadow to highlight being the dexterous piano; while the lively and versatile textures can be seen as a viola/violin in harmony with the work, yet pushing and pulling the boundaries. To view a piece therefore is to have a myriad of visual forms playing on your eyes. What the work is about therefore is not necessarily as important as what it achieves in stimulating your senses.