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include poetry. Her poems were a form of diary, w
hich recorded her thoughts on all sorts of subjects – her life, loves, art, ambitions, stories about travels and meeting people. Sometimes during a portrait sculpture sitting, she would write about her sitter; other times she wrote about the paintings on her walls, or a particular artist, such as Jack Yeats, and her memories of them and their work. Some months after Richard Roelofs’ death in May 1971, Helen started her most productive phase. In the next 15 years, she would create over half of her lifetime’s sculptural work, spending a significant amount of time in Ireland. Firstly, in Burrishoole, which she eventually sold in 1981, then latterly in her mews in Ballsbridge, Dublin where she established a studio. Here, her later sculptural work concentrated on new challenges, such as capturing the body in action. In her photographic work, she also explored new areas such as still life, whilst continuing her examination of form and pattern in the landscape. During this time, Helen started to dream of creating a museum in Mayo where her collection of Irish and international art could be enjoyed by locals and visitors. In 1977, she approached the Irish government with her plans. She selected over 600 artworks for the proposed museum and donated them to the Irish American Cultural Institute. Ultimately, however, several years after giving her gift, the government decided against building the museum. Instead, her O’Malley Irish Art Collection is currently housed in the elegant surroundings of the University of Limerick. After these last productive years, Helen decided to gift 45 of her sculptures to the University of Limerick and a selection of her photographs to the National Library of Ireland. In the US, she exhibited her works in Birmingham, Stamford and Greenwich. She was delighted by the creation of the O’Malley Art Award by the Irish American Cultural Institute, which both honours Ernie O’Malley and benefits contemporary artists in Ireland. Helen continued to sculpt and exhibit until 1991. She died, aged 88, in 1993. To the end, Helen had always been true to her mission – to show how art could transform life and to exemplify the artist’s role in that effort. Re-printed with permission from A Modern Eye: Helen Hooker O’Malley’s Ireland, a book accompanying an exhibition of her work which is running in the Gallery of Photography and The National Photographic Archive until September 1. 34