Devil In The Detail

Solo exhibition

Ronchini Gallery, London

Until 20 January 2018






Opening May 2018



Artist Talk

Chelsea School of Arts


Monday, 27 November, 6pm



Artist Talk

Leeds Art Gallery

Tuesday, 16 January 2018, 6pm



Idea Home

MIMA Middlesborough

Group exhibition with Artist Tea Towel Company

Until 18 February 2018





Douglas Hyde Gallery, Dublin

Solo exhibition

February - April 2017

Irish Times Review



International Film Festival Rotterdam

24 January - 4 February 2017



Charles H Scott Gallery, Vancouver

Solo exhibition

November 2016 - February 2017



Audain Distinguished Artist-in-Residence

Emily Carr University of Art and Design, Vancouver

Autumn 2016



Rose Art Museum, Boston

Solo exhibition

September –  December 2016



Adventure: Capital

Solo exhibition touring in Ireland throughout 2016

The Model. Sligo / Royal Hibernian Academy & Kevin Kavanagh Gallery, Dublin /

Limerick City Gallery of Art / Golden Thread Gallery, Belfast



The Weight of the World

Solo exhibition at Spacex, Exeter Phoenix and Royal Albert Memorial Museum, Exeter

May – July 2016



Bandits Live Comfortably in the Ruins

Curated exhibition at Flat Time House, London

March – April 2016

This is Tomorrow Review 




Adventure: Capital

Irish representation at the 56th International Art Exhibition, La Biennale di Venezia

solo exhibition, 56th Venice Biennale

9 May - 22 November 2015


See the exhibition at Google Cultural Institute

Read Chris Fite-Wassilak in Art Review

Interview with Artslant

Interview with Art Review

e-flux announcement

Interview with Sherman Sam at Ocula




Curated exhibition

Lismore Castle Arts

October - December 2015

Lismore Castle Arts presents Reverse!Pugin, an exhibition curated by artist Sean Lynch.

Playfully titled after nineteenth century architect and critic Augustus Welby Pugin, Lynch’s exhibition explores the attitudes that underpin human relationships to the environment. Pugin’s catholic sensibilities, as expressed through large-scale architectural and ornamental design (seen throughout Lismore Castle and London’s Houses of Parliament) promoted the idea of glorified unity and strict coherence to a singular vision. With this belief, all the forces of nature, human perseverance and morality would fuse together into an energised whole. Reverse!Pugin imagines a different kind of legacy, deconstructing Pugin’s ideals to dwell in the conflicts and frictions found in how environments are shaped and mediated. There’s no hierarchical masterplan or spiritual identity to be found here - rather the artworks and objects selected by Lynch bargain, hustle and improvise with a variety of particular locations and social formations. In this accumulation, featuring postindustrial landscapes and garden design, Hollywood movies and Internet infrastructure, casinos and antiquarian watercolours, there is little holistic certainty. Rather, the devil resides in the details...


An overview of filmic representations of Skellig Michael rock is presented, contextualising the Irish governments’ capitulance of the World Heritage site to Disney’s latest installment of the Star Wars franchise. Celtic Tiger recollections include a large model of 1996’s proposed Sonas (translated as “Happiness”) Centre in Dublin, featuring a bespoke replica of a megalithic stone circle. Fiona Marron and Sam Keogh question today’s communication systems and devices. Stephen Brandes, John Latham and Diarmuid Gavin exhibit various approaches to the construction and ideology of monuments. Stonemason Philip Quinn presents materials he uses each day in restoration work at Lismore Castle and Michele Horrigan updates antiquarian representations, while Daniel Knorr fervently collects rubbish from around the streets of Ireland and turns it into books. In these and other instances, Reverse!Pugin proposes a version of geography far away from tranquil uniformity and the comforts of identifying with history and heritage. Instead, everything constantly mutates and nothing ever stays the same.


Reverse!Pugin features contributions by Gabriel Beranger, Stephen Brandes, Burke Kennedy Doyle architects, Central Bank of Ireland, Kenneth Clark, Diarmuid Gavin, Werner Herzog, Sam Keogh, Daniel Knorr, Michele Horrigan, John Latham, Fiona Marron, David A. Paton, Philip Quinn, Augustus Welby Northmore Pugin and Bold Puppy Multimedia Productions.








with Wayne Daly, Bedford Press

published in A Circular Journal no. 2






Ce Qui Ne Sert Pas S’oublie (What is not used is forgotten)

group exhibition curated by Catalina Lozano

CAPC musée d'art contemporain de Bordeaux

January - May 2015

Artists: Mathieu Kleyebe Abonnenc, Sven Augustijnen, Mariana Castillo Deball, Sean Lynch, Pauline M'Barek, Wendelien van Oldenborgh, Uriel Orlow, Beatriz Santiago Muñoz, Jorge Satorre, Museo Comunitario del Valle de Xico.


The exhibition explores how objects, along the circulation that constitutes their life, accumulate

information thus becoming part of a historical process marked by the effects of colonialism.

Even though objects do not strictly carry meaning, it cannot be said they are not significant.

It is through language however that we as humans try to integrate them in the constant creation of

meaning we embark ourselves on. This exhibition tries to celebrate their agency and capacity to

affect others, both human and non-human. What cannot be used is forgotten seeks to understand

how our relation to the material world entails endless processes of assimilation, acculturation,

re-appropriation, and ritualization.





Interview with Michael Asbury, TrAIN Research Centre, London





A blow by blow account of stonecarving in Oxford

Exhibition graphic, designed by Fraser Muggeridge Studio



The Cat Window,

Oxford University Museum of Natural History,

1859 by James O'Shea


Chuckie logo of Favorite Chicken and Ribs


unknown artist






























Modern Art Oxford

Solo exhibition

14 April - 8 June 2014



See Ed Hall's Banner


See Oxonian Review


A blow-by-blow account of stonecarving in Oxford is an installation by Sean Lynch exploring the work of the nineteenth century stone carvers, John and James O’Shea, whose naturalistic renditions of animals and plants are still visible in the architectural detail of buildings in Oxford and Dublin. Sean Lynch investigates distinctive and often overlooked moments in history that have left fragments of evidence, objects and narratives. He explores these sidelined histories through photographic and sculptural installations, prefabricated or found artefacts and small-scale publications.


The O’Shea brothers had completed a series of notable stone carvings in Dublin during the 1850s before accepting an invitation from the University of Oxford to work on the new Natural History Museum. Controversy quickly surrounded the O’Shea’s carvings of primates on the museum’s facade, as many people interpreted the work as a representation of Darwin’s theory of evolution, a contentious and powerful subject within theological, intellectual and social debates of the time. Following a quarrel between the O’Sheas’ and the University, James O’Shea attempted a series of impromptu carvings on the entrance to the museum intended to caricature the authorities of Oxford as parrots and owls. These carvings are still visible on the building today.


Lynch activates this story through a variety of objects sited throughout the exhibition. Subtly placed into the shop and café, a collection of material is exhibited about Favorite, a fried chicken outlet now found on what was once the site of Britain’s first public museum, the Ark, in Lambeth, London. Artefacts from the Pitt Rivers Museum, the Natural History Museum and stone carvings by Dublin-based Stephen Burke each evoke the playfulness of the O’Sheas’ work. In Lynch’s accompanying slide projection, these seemingly unrelated objects come together to weave a narrative about museum culture, public space, individual agency and the construction of history.




Never the Same River (Possible Futures, Probable Pasts)

Camden Arts Centre, London

Group exhibition curated by Simon Starling

Camden Arts Centre is delighted to present a new exhibition curated by British artist Simon Starling, the latest in a series of artist-selected shows.


Conflating works already exhibited at Camden Arts Centre during the past five decades, the works in Starling’s exhibition will be installed in the exact position they occupied the first time around. These fragments of the Centre’s history will be staged alongside new works by Sean Lynch, Michael Stevenson and Jeremy Millar, which represent an imagined prospective programme: the probable past and possible future of Camden Arts Centre momentarily coming together in an unstable present. Never The Same River will redeploy fragments of exhibitions such as Hampstead in the 30’s (1975), Photography into Art (1973), Environments Reversal (1969) as well as a number of previous artist-selected exhibitions.

Artists: Francis Alÿs, Francis Bacon, Christian Boltanski, Matthew Buckingham, Harry Burton, Tony Carter, Keith Coventry, Andrea Fisher, Stefan Gec, Ernö Goldfinger, Graham Gussin, Susan Hiller, Douglas Huebler, Des Hughes, ISOKON / Marcel Breuer, Patrick Keiller, Hilma af Klint, David Lamelas, Sean Lynch, Mary Martin, Jeremy Millar, Jacques Monory, Henry Moore, William Morris / Liberty & Co., Mike Nelson, John Riddy, Michael Stevenson, Katja Strunz, Paul Thek, Francis Upritchard


Edition details here




Lost and Found

neugerriemschneider, Berlin

Group exhibition, 2010

Artists: Franz Ackerman, Pawel Althamer, Lothar Baumgarten, Nina Beier, James Benning, Tacita Dean, Jeremy Deller, Mark Dion, Jimmie Durham, Pierre Huyghe, Louise Lawler, Sharon Lockhart, Sean Lynch, Mike Nelson, Jorge Pardo, Manfred Pernice, Simon Starling, Mario Garcia Torres, Danh Vo, Ai Weiwei




DeLorean: Progress Report

Solo exhibition, 2010

Kevin Kavanagh Gallery, Dublin

A public conversation with art critic Caoimhín Mac Giolla Léith took place in the gallery.

Irish Times review