MIND OF THE ARTIST
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‘The Irish nation has so much to be proud of her. She’s our mother of modernism, but she’s also the world’s mother of modernism. She was so far ahead of everybody else’
Jennifer Goff, curator of furniture and Eileen Gray collections at the National Museum of Ireland
Eileen Gray, Transat chair, circa 1926-1929, Varnished sycamore, nickel-plated steel, synthetic leather. Piece of furniture from the E-1027 villa. Centre Pompidou, Musée National D’art Moderne, Paris. Purchase, 1992
“She had connections all throughout her years with the Irish cognoscenti who were over in Paris. This had begun from her London years. She was always interested in Irish politics and what was going on in Ireland. Continuously in letters to the family she said she longed for home. She always wanted to return to Ireland, which she thought of as home. “As regards to her Irish influences, it appears in her lacquer work. It
Eileen Gray, Bibendum armchair, circa 1930, Back and armrests made of two flared stacked rolls, stitched onto a deep semi-circular seat, canvas upholstery, originally ivory covered, chromed metal base, Photography: Christian Baraja, studio SLB and Provenance: Private collection, Paris
very much appears in a piece that we have here in the National Museum of Ireland, which is part of a panel that came from 12 panels that were done for entry doors. The theme was taken from the Children of Lir. She was avidly interested in Celtic mythology and had stories in her library of the Táin and of Cúchulainn.” As an artist, Goff believes Gray is Ireland’s greatest export. “She has opened the doors so much for women in architecture and design. But she also opened the doors in that she was already questioning workers’ rights, long before reform was introduced. She’s the perfect example of somebody who continuously thought outside the box.” One of Gray’s legacies in Ireland is her continued influence on the current
crop of designers, according to Goff. “I can’t tell you how many Irish designers and artists have come into me to say they’re completely influenced by her work. There’s a whole Eileen Gray movement in the arts, but especially in furniture design, that has taken off in this country in the last 10 years. “She was like a burning star, and then she’d go out and then she’d light up
again,” says Goff. “That’s the way her whole career has gone, even up until now. “Hopefully this time she’s not just going to disappear again. The Irish nation
Eileen Gray, Cabinet with pivoting drawers, circa 1926-1929. Painted wood. Piece of furniture from the E-1027 villa. Centre Pompidou, Musée National D’art Moderne, Paris. Purchase, 1992
has so much to be proud of her. She’s our mother of modernism, but she’s also the world’s mother of modernism. She was so far ahead of everybody else.”
Eileen Gray: Architect Designer Painter runs in Imma until 19 January 2014. Issue 7 Autumn/Winter 2013 INNOVATION IRELAND REVIEW 71
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