The colours reflect the coming of spring, and the emerging of colour; both which are mirrored in the landscape surrounding the space they were created for.

I poured liquid pigment onto hand-stretched canvas, pooling and dragging the colour across the surface of the painting. By building layers on top of layers the pieces embody the curves and currents of moving water. The work ‘Congress of Substances’ hints to the abundance of colour and texture found in the natural landscape by deconstructing the marks I use to create paintings. The title of the largest piece ‘Im Waiting At The Weather Window’ evokes a feeling of anticipation for the season to come.

Charred oak from the stove ground down into a smooth silvery dust led to beautiful strokes in monochrome. The dense clay gathered from beneath the rocks at Baile na Sceilg beach created a pale purple chalky ink and dried opaque.

Each pigment was ground down from solid to a pigment rich dust during a residency at Cill Rialaig, Kerry in January 2020.

Sizes range between a5 (148x 210mm) and a3 (297 x 420), and are priced between €45 and €90 ex. shipping.

If you would like to purchase simply get in touch via email.

This is one of a series of works on paper that highlighted specific colours thrown by light across the landscape of Sligo in mid-summer. I approached this as an exercise in exploring a technique. I wanted to fully engage in the process of applying three distinct layers in various colour combinations.

The works are made up of three components; the white texture background, followed by the messy spirited splash, and finally the slow strong gradient stroke. The gradient colours were chosen by identifying the brightest colour against the deepest colour of the environment at a specific time of day. The slow steady application of the stoke, after the uninhibited gestural splash forces me to shift my thinking, and my hand-eye coordination. Each component is intuitive - moving between complete abandon and frenzied focus.

Works are sold unframed and measure 29.7 x 42 cm

To purchase this work, and for more details, head over to my shop

These works are the beginnings of a larger series investigating the physical manifestation of “wild inks”. Ink is living, and when different material mix they cause reactions, oxidisation, and often a shift in colour.

Oak galls are formed when a wasp lays it’s eggs on the branch of an oak sapling. The tree responds to the wash larvae by creating a protective orb or “gall” around the was babies. Eventually the wasp bores a tiny, perfectly circular tunnel out of the gall and flies off, leaving it’s gall haven behind.

I crush and soak the galls for between a week and 18 months depending on how rich I would like the colour. After straining the liquid, I add FeS04 (Liquid Iron) which reacts with the tannic acid to turn the ink from orange brown, to black brown. After brushing the ink on the page the ink deepens further appearing as a rich, indelible black.

Oak Gall is the quintessential calligraphers ink and has been used since the middle ages. the Book of Kells contains oak gall ink, and until recent technology took over, oak gall was the official registrars ink for signing legal documents.

These works are sold with handmade frames.

To purchase this work, and for more details, head over to my shop

These works are a visual interpretation of the interplay of light and colour across landscapes. By pulling and dragging colour and texture across the canvas or by manipulating the visceral medium of paint to create a balance of motion, each piece gestures to presence in a fleeting moment. This series pushes the viewpoint away from specifics and expresses the whole, the essence of the landscapes.

These works are sold framed and measure between 11 x 16cm and 21 x 29.7cm

To purchase this work, and for more details, head over to my shop

TOMBOLO, Brow Head, Mizen Peninsula, West Cork.

September 2017

Drawing from light and colour studies made during my time on Brow Head I created an elliptical structure from farming posts which sat in the middle of the “steep side of the hill” overlooking the cusp of brow head. The posts highlighted the topography of the terrain underfoor and the shape of the piece invited the audeince to wander around it. As they did, they experienced the posts changing colour, mirroring the changing colours of the headland at sunset.

The title was taken from John Montague’s poem “Windharp”.

Fencing Posts, Paint, Rebar, Galvaband.

BA (Hons) Fine Art 2012 // Those Who Live In Glass Houses Shouldn’t.

Angle Iron, Iron Plates, Steel Rigging, 6mm Glass, 6mm Mirror, Salt, Duck Feathers.

This work is engaged with ideas of measurement – how something, tangible or not, is gauged. The transition from the arbitrary position to the loaded one (for instance from thesis to antithesis through an active space between them both) is the point in which the measurement becomes important and begins to question the process of measurement itself.

I have created a set of scales, made in a formalist aesthetic which reflects the surroundings of the device, which both records and measure the change that happens for the duration of the piece.

These works were created in response to the changing colours of the hedgerows in Autumn. Slow berries burst with ripeness along country roads, hawthorn berries can be seen lighting up the boundary lines between fields, and dock leaves stand tall as their chlorophyll fades and they turn a beautiful rusty colour. These three natural materials were synthesised into ink, creating a warm spectrum of colours which were then modified using iron oxide and aluminium sulphate directly on the surface of the painting.

Sable On A Shield Of Sky 2020 - Hawthorn, Docktips, Sloe, Soda and Alum on Cotton Canvas - 40 x 30cm

Flared And Roared 2020 - Hawthorn Sloe, Liquid Iron. Soda, Dock Tips and Alum on Cotton Canvas - 24 x 30cm

To check if these works are available to purchase, go to my works for sale page.

51°26'52.7"N 9°46'18.6"W
Brow Head. West Cork. December 2016