Photographed By William Murphy - Select Image To View Photographs

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IRISH ARTIST ISABEL NOLAN

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A Tale of Two Sculptures: Correcting a Case of Mistaken Identity

In June 2025, I shared a series of photographs of a striking, geometric sculpture situated in the gardens of the Butler Gallery at Evans’ Home, Kilkenny. At the time, I identified the work as "Slant" (or "Kilkenny Slant") by the renowned British sculptor Phillip King.

However, part of my practice is to visit these locations on a yearly basis. This annual "check-in" allows me to see how the works weather the seasons, but more importantly, it serves as a vital audit of the information I publish. During my return visit in February 2026, a sign near the gravel bed caught my eye and completely rewrote the story. The sculpture is, in fact, "Double Down" (2023) by the contemporary Irish artist Isabel Nolan.

How the Error Occurred

The mistake was a classic example of a "digital hallucination" in the AI tools I used for initial research. The system conflated several disparate facts:

Visual Similarities: Both Phillip King and Isabel Nolan utilize industrial, painted steel and bold, primary colours. The open-frame geometry of Nolan’s piece bears a passing resemblance to the abstract language King pioneered in the 1960s.

The "Slant" Connection: While Phillip King did create a famous work titled Slant (1966), it is not a permanent fixture in Kilkenny. The AI likely plucked the name from an art database and "localised" it, even inventing the title "Kilkenny Slant" to make the information feel more authoritative.

Newness of the Work: As Double Down was only installed in late 2023, it was a relatively recent addition to the digital record. The AI filled this "knowledge gap" with a much more famous historical analogue from the 20th century.

The Importance of the Annual Visit

This experience highlights why I make it a point to revisit these sites annually. While digital tools are incredible for initial research, there is no substitute for physical verification. Seeing the work again in the crisp light of February 2026 allowed me to catch the discrepancy that I had missed in the summer sun of 2025.

It is a humbling reminder that art—much like the gardens it inhabits—is a living thing. By returning to these sites year after year, I can ensure that my site remains a reliable resource and that artists like Isabel Nolan receive the correct credit for their magnificent contributions to Kilkenny’s cultural landscape.

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