A curious meeting of man and beast was central to the keyed-up drama of Eoin Mc Hugh’s “the skies will be friendlier then.” Dominating one end of the room was a grotesque quasi-equine sculpture titled the ground itself is kind, black butter (all works 2014): a headless hybrid animal made mainly from wax, black sheepskin, and steel. It was an absurd and somewhat frightening creature: part staggering newborn foal; part menacing, mutant four-legged ostrich. The sculpture’s title—taken from Seamus Heaney’s 1969 poem “Bogland”—was surely meant to highlight how this unsteady, deformed animal