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Dead Place Ochre, Benbulben Ochre, Wrack, Raghly Rock Ochre on Paper

99 x 139cm
2020

Cotton rag paper has been drenched in water. As the liquid soaks into the fibres it buckles and swells creating undulations across its surface. Layers of earth pigment are then applied to the surface, deepening is hues as it builds up in the troughs and dips. The pieces, seen as a whole, create a river-like map of the movement of colour, tracing how the different densities of pigment from different landscapes react to the surface of the paper. The works combine movement and stillness in how the pigment has been applied, allowing the eyes to travel across the terrain of the artwork.

This series of work traces the Sligo landscape through the pigments and inks derived from natural materials at Raghly, Lissadell, Ballyconnel and Benbulben. Colour is created through the process of crushing and grinding iron oxide earth pigment foudn at each location. There is a contrast between the ancient geological fossils and formations and the slippery soft organic terrains found at rock pools and shorelines. Colour is used as a marker of terrain. Each work responds to the idiosyncrasies of specific colours derived from the landscape as well as the surface it is applied to.

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Copper, Iron, Oakgall, Iron Oxide, Iron Rich Ochre, Charred Kelp, Peat Ink on paper.
2021
130 x 140cm

There is a keen sense of the overlapping layers of geological landscapes. Colours appear to dance beneath the shimmering surface water, heavy dense slabs sit beneath dappled textures. From afar the piece is divided into distinct areas, but up close there are textural patterns reaching across the whole terrain. The alchemic reactions of the natural pigment mirror that of the ecosystem of the environment at Port Donegal; spotted, dappled textures rising forward, scratched heathers contrasted against layers of bog water. The textures draw you in, inviting you to run your hand along the painting.

The interactions of living colour are emphasised as colour is applied onto the surface of my works. I stretch out the spectrum of colours I create/use through tweaking ph levels, employing oxidisation methods and modifying vibrancies.

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Raghly Rich Ochre, Raghly Pale Ochre, Dead Place, Benbulben, Kelp on Paper
99 x 139 cm
2020

Cotton rag paper has been drenched in water. As the liquid soaks into the fibres it buckles and swells creating undulations across its surface. Layers of earth pigment are then applied to the surface, deepening is hues as it builds up in the troughs and dips. The pieces, seen as a whole, create a river-like map of the movement of colour, tracing how the different densities of pigment from different landscapes react to the surface of the paper. The works combine movement and stillness in how the pigment has been applied, allowing the eyes to travel across the terrain of the artwork.

This series of work traces the Sligo landscape through the pigments and inks derived from natural materials at Raghly, Lissadell, Ballyconnel and Benbulben. Colour is created through the process of crushing and grinding iron oxide earth pigment foudn at each location. There is a contrast between the ancient geological fossils and formations and the slippery soft organic terrains found at rock pools and shorelines. Colour is used as a marker of terrain. Each work responds to the idiosyncrasies of specific colours derived from the landscape as well as the surface it is applied to.

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Haw berries, nettle, charred Hawthorn, Ivy, Docktips, Iron, Soda, Gum Arabic on 330gsm Cotton Rag Paper.
80 x 120 cm

These colours were foraged from the area surrounding a Hawthorn Tree which sat in a Ring Fort in Portmarnock. The colour locked within the haws, nettles, dock leaf tips, ivy and lichen was extracted through the process of soaking and reducing. The hawthorn twigs were charred in an open fire and then ground down into charcoal.

The interaction of live colour is emphasised as I tweak ph levels and modify the vibrancy using oxides. Iron generally darkens the colour, especially where there is a large amount of tannin in the material. Alum creates a more chalky appearance with slightly more viscosity. The hawthorn ink reacts with the soda and iron to make a plum colour which looks almost blushed onto the surface. The dock and hawthorn are similar colours when raw, but oxidised the dock turns almost purple to the hawthorn’s red.

As I drip, blush and spray each colour solution on paper the drying process often appears to suspend the works between solid and liquid. This connects my work with the ephemeral nature of the landscape.

NOTES: This piece is sold unframed. It will require framing (preferably gallery standard UV glass). I am happy to advise regarding this.

All bio-colours produced are organic and living. Every effort has been made to preserve the lightfastness of the colours, however, there is no guarantee the colours will not change over time. You are advised to keep the paintings away from direct sunlight, away from temperature fluctuation, and to enjoy observing them if they do change.

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Copper, Iron, Oakgall, Raghly Ochre, Iron Rich Ochre, Charred Kelp, oil pastel on paper.
130 x 140cm

There is a keen sense of the overlapping layers of geological landscapes. Colours appear to dance beneath the shimmering surface water, heavy dense slabs sit beneath dappled textures. From afar the piece is divided into distinct areas, but up close there are textural patterns reaching across the whole terrain. The alchemic reactions of the natural pigment mirror that of the ecosystem of the land; spotted, dappled textures rising forward, scratched pollups contrasted against layers of sea slime. The textures draw you in, inviting you to run your hand along the painting.

The interactions of living colour are emphasised as colour is applied onto the surface of my works. I stretch out the spectrum of colours I create/use through tweaking ph levels, employing oxidisation methods and modifying vibrancies.

Limestone, Urchin, Shells, Charred Kelp on Yupo

30 x 42cm
2020

Framed in natural walnut frame behind UV protective plexiglass.
Sold framed or Unframed. If you would like to purchase this piece with the frame simply send me an email after purchase and we can organise framing and shipping separately.

Frame costs is €95, A$155

This series of work traces the landscape of North Sligo through the pigments and inks derived from natural materials atRaghly, Lissadell, Ballyconnel and Benbulben. There is a contrast between the ancient geological fossils and formations and the slippery soft organic terrains found at rock pools and shorelines. Colour is used as a marker of terrain. Each work responds to the idiosyncrasies of specific colours derived from the landscape as well as the surface it is applied to.

Colour is created through the process of crushing, grinding, charring and boiling natural materials. The works feature a spectrum of hues from iron rich yellow/orange ochres to a pale pallet derived from limestone, urchins and limpets to monochromatic charred kelp. Bladder wrack and kelp are synthesised into inks which allow a contrast in viscosity on the page.

Colour is applied to the page by drowning the surfaces in ink and paint. The surface is Yupo Paper, an interesting synthetic recyclable material that is completely waterproof. Without the ability to absorb into the surface the pigment is left behind after the evaporation process. This creates thin veil-like layers which can blend and bend across the page, gathering and depositing hues and tones as it rolls. The hues find their way around the page settling into their own rhythm as water does in the natural environment. The final drying process appears to suspend the colour between solid and liquid revealing distinct vistas.

Charred kelp on Yupo
30 x 23 cm
2020

Framed in natural walnut frame behind UV protective plexiglass.
Sold framed or Unframed. If you would like to purchase this piece with the frame simply send me an email after purchase and we can organise framing and shipping separately.

Frame costs is €80 A$130

This series of work traces the landscape of North Sligo through the pigments and inks derived from natural materials atRaghly, Lissadell, Ballyconnel and Benbulben. There is a contrast between the ancient geological fossils and formations and the slippery soft organic terrains found at rock pools and shorelines. Colour is used as a marker of terrain. Each work responds to the idiosyncrasies of specific colours derived from the landscape as well as the surface it is applied to.

Colour is created through the process of crushing, grinding, charring and boiling natural materials. The works feature a spectrum of hues from iron rich yellow/orange ochres to a pale pallet derived from limestone, urchins and limpets to monochromatic charred kelp. Bladder wrack and kelp are synthesised into inks which allow a contrast in viscosity on the page.

Colour is applied to the page by drowning the surfaces in ink and paint. The surface is Yupo Paper, an interesting synthetic recyclable material that is completely waterproof. Without the ability to absorb into the surface the pigment is left behind after the evaporation process. This creates thin veil-like layers which can blend and bend across the page, gathering and depositing hues and tones as it rolls. The hues find their way around the page settling into their own rhythm as water does in the natural environment. The final drying process appears to suspend the colour between solid and liquid revealing distinct vistas.

Charred Kelp on Yupo
42 x 30cm

Framed in natural walnut frame behind UV protective plexiglass.
Sold framed or Unframed. If you would like to purchase this piece with the frame simply send me an email after purchase and we can organise framing and shipping separately.

Frame costs is €95

This series of work traces the landscape of North Sligo through the pigments and inks derived from natural materials atRaghly, Lissadell, Ballyconnel and Benbulben. There is a contrast between the ancient geological fossils and formations and the slippery soft organic terrains found at rock pools and shorelines. Colour is used as a marker of terrain. Each work responds to the idiosyncrasies of specific colours derived from the landscape as well as the surface it is applied to.

Colour is created through the process of crushing, grinding, charring and boiling natural materials. The works feature a spectrum of hues from iron rich yellow/orange ochres to a pale pallet derived from limestone, urchins and limpets to monochromatic charred kelp. Bladder wrack and kelp are synthesised into inks which allow a contrast in viscosity on the page.

Colour is applied to the page by drowning the surfaces in ink and paint. The surface is Yupo Paper, an interesting synthetic recyclable material that is completely waterproof. Without the ability to absorb into the surface the pigment is left behind after the evaporation process. This creates thin veil-like layers which can blend and bend across the page, gathering and depositing hues and tones as it rolls. The hues find their way around the page settling into their own rhythm as water does in the natural environment. The final drying process appears to suspend the colour between solid and liquid revealing distinct vistas.

Charred kelp on Yupo

30 x 23cm
2020

Framed in natural walnut frame behind UV protective plexiglass.

Sold framed or Unframed. If you would like to purchase this piece with the frame simply send me an email after purchase and we can organise framing and shipping separately.

Frame costs is €80

This series of work traces the landscape of North Sligo through the pigments and inks derived from natural materials atRaghly, Lissadell, Ballyconnel and Benbulben. There is a contrast between the ancient geological fossils and formations and the slippery soft organic terrains found at rock pools and shorelines. Colour is used as a marker of terrain. Each work responds to the idiosyncrasies of specific colours derived from the landscape as well as the surface it is applied to.

Colour is created through the process of crushing, grinding, charring and boiling natural materials. The works feature a spectrum of hues from iron rich yellow/orange ochres to a pale pallet derived from limestone, urchins and limpets to monochromatic charred kelp. Bladder wrack and kelp are synthesised into inks which allow a contrast in viscosity on the page.

Colour is applied to the page by drowning the surfaces in ink and paint. The surface is Yupo Paper, an interesting synthetic recyclable material that is completely waterproof. Without the ability to absorb into the surface the pigment is left behind after the evaporation process. This creates thin veil-like layers which can blend and bend across the page, gathering and depositing hues and tones as it rolls. The hues find their way around the page settling into their own rhythm as water does in the natural environment. The final drying process appears to suspend the colour between solid and liquid revealing distinct vistas.

Limestone, Urchin, Holdfast Calcite on Yupo
42 x 30cm
2020

Framed in natural walnut frame behind UV protective plexiglass.
Sold framed or Unframed. If you would like to purchase this piece with the frame simply send me an email after purchase and we can organise framing and shipping separately.

Frame costs is €95, A$155

This series of work traces the landscape of North Sligo through the pigments and inks derived from natural materials atRaghly, Lissadell, Ballyconnel and Benbulben. There is a contrast between the ancient geological fossils and formations and the slippery soft organic terrains found at rock pools and shorelines. Colour is used as a marker of terrain. Each work responds to the idiosyncrasies of specific colours derived from the landscape as well as the surface it is applied to.

Colour is created through the process of crushing, grinding, charring and boiling natural materials. The works feature a spectrum of hues from iron rich yellow/orange ochres to a pale pallet derived from limestone, urchins and limpets to monochromatic charred kelp. Bladder wrack and kelp are synthesised into inks which allow a contrast in viscosity on the page.

Colour is applied to the page by drowning the surfaces in ink and paint. The surface is Yupo Paper, an interesting synthetic recyclable material that is completely waterproof. Without the ability to absorb into the surface the pigment is left behind after the evaporation process. This creates thin veil-like layers which can blend and bend across the page, gathering and depositing hues and tones as it rolls. The hues find their way around the page settling into their own rhythm as water does in the natural environment. The final drying process appears to suspend the colour between solid and liquid revealing distinct vistas.

Urchin, Limpet on Yupo

30 x 23cm
2020

Framed in natural walnut frame behind UV protective plexiglass.
Sold framed or Unframed. If you would like to purchase this piece with the frame simply send me an email after purchase and we can organise framing and shipping separately.

Frame costs is €80

This series of work traces the landscape of North Sligo through the pigments and inks derived from natural materials atRaghly, Lissadell, Ballyconnel and Benbulben. There is a contrast between the ancient geological fossils and formations and the slippery soft organic terrains found at rock pools and shorelines. Colour is used as a marker of terrain. Each work responds to the idiosyncrasies of specific colours derived from the landscape as well as the surface it is applied to.

Colour is created through the process of crushing, grinding, charring and boiling natural materials. The works feature a spectrum of hues from iron rich yellow/orange ochres to a pale pallet derived from limestone, urchins and limpets to monochromatic charred kelp. Bladder wrack and kelp are synthesised into inks which allow a contrast in viscosity on the page.

Colour is applied to the page by drowning the surfaces in ink and paint. The surface is Yupo Paper, an interesting synthetic recyclable material that is completely waterproof. Without the ability to absorb into the surface the pigment is left behind after the evaporation process. This creates thin veil-like layers which can blend and bend across the page, gathering and depositing hues and tones as it rolls. The hues find their way around the page settling into their own rhythm as water does in the natural environment. The final drying process appears to suspend the colour between solid and liquid revealing distinct vistas.

Oil on Yupo

45 x 64 cm

These works are experimentations in oil; exploring consistencies, stroke and the unintuitive mark making that emerges when oil and spirits meld. Pouring liquid, stretching surfaces around pooling pigment. The surface is Yupo Paper, an interesting synthetic recyclable material which is completely waterproof. Without the ability to absorb into the surface the pigment is left behind after the evaporation process. This creates thin veil like layers which can blend and bend across the page, gathering and depositing hues and tones as it rolls. The final drying process appears to suspend the colour between solid and liquid revealing four distinct vistas.

19 x 25cm - Akua and Charcoal Monoprint.

The works depict a blending of sea and sky, where the horizon line moves in and out of focus. The wind blown clouds quickly shift, opening bright for short moments, then veiling the scape once again. There is an urgency in the clouds depicted through haphazard mark making and an evocation of West Kerry’s battering storms. The application of ink is fluid; scraping, scouring and pushing colour across the plate.My hand is heavy, sporadic, and spirited, leaving behind traces of my process. The works create a balance between elements, rain and sea, clouds and wind, often with one reflecting the movement of the other.

The titles are inspired by “Ten Poems about Clouds”, selected by Katharine Towers. A beautiful compilation of poems that could be described as a ‘cloud appreciation book’. It is available through candlestick press.co.uk and features the work of Liz Berry, Billy Collins, John Glenday, Paul Mehan, Fiona Sampson, Leslie Saunders, Katherine Towers, Sarah Westcott and Derek Walcott.

Oak Gall, Ash, Charred Oak, Walnut, Iron, Rusty Dust on Printmaking Paper.
28.5 x 38.5cm

Oak, taking various forms, is the primary ingredient of this series. First as bark, scorched by fire to make charcoal black, then as ash deposited below the flames, which makes a light cream hue. Oak galls are taken from the young Oak trees and after soaking for months results in a golden brown tint, which, modified with iron, and exposed to oxygen, turns an indelible green black. Tying these together is a deep luscious brown created from walnut husks collected from the forest floor in late autumn.

16.5 x 14.5cm

Created using Sugarlift, Monoprint & Aquatint Intaglio Etching Processes on Cotton Paper. 2017

The energy of the ocean impresses itself against the shore, engraving out its own shape. These work reflect the mapping of places where the ocean has carved itself out of the coast.

Charred Kelp, Ochre, Bladderwrack on Paper.

76 x 56cm

These works invite the viewer to explore the depths of interior and exterior spaces through deliberate gestural strokes. The evokes a sense of haunting space, a deep underground chasm or cavern. There is a feeling of moving forward while edding backwards simultaneously, as in an echo chamber. 

Cotton rag paper has been drenched in water. As the liquid soaked into the fibres it caused the paper to buckle and swell creating undulations across the surface. Charred kelp pigment was then washed onto the paper and sprayed with water which caused them to move across the surface leaving behind trails of pigment.  Speckles and sprinkles of earth pigment, kelp and bladderwrack ink were then dropped onto the work. Depending on the viscosity of the drip, the saturation of the paper and the layers of pigment already on the page, each new drip reacted differently, often pooling in the troughs and dips or diffusing into specific areas. The works combine movement and stillness in how the pigment has been applied, allowing the eyes to travel across the terrain of the artwork.

Charred Kelp, Ochre, Bladderwrack on Paper.

76 x 56cm

These works invite the viewer to explore the depths of interior and exterior spaces through deliberate gestural strokes. The evokes a sense of haunting space, a deep underground chasm or cavern. There is a feeling of moving forward while edding backwards simultaneously, as in an echo chamber. 

Cotton rag paper has been drenched in water. As the liquid soaked into the fibres it caused the paper to buckle and swell creating undulations across the surface. Charred kelp pigment was then washed onto the paper and sprayed with water which caused them to move across the surface leaving behind trails of pigment.  Speckles and sprinkles of earth pigment, kelp and bladderwrack ink were then dropped onto the work. Depending on the viscosity of the drip, the saturation of the paper and the layers of pigment already on the page, each new drip reacted differently, often pooling in the troughs and dips or diffusing into specific areas. The works combine movement and stillness in how the pigment has been applied, allowing the eyes to travel across the terrain of the artwork.

Cotton paper has been drenched in water. As the liquid soaks into the fibres it buckles and swells creating undulations across its surface. I dripped, poured and blushed charred kelp (black), benbulben ochre (cream), kelp (kellow brown) Raghley Ochre (darker brown) allowing the hues to soak and blend across the surface. As the colours seeped into the fibres of the pages they settled into their own rhythm, as they do in nature. Dappled textures are contrasted against precious details. The works combine movement and stillness in how the pigment has been applied, allowing the eyes to travel across the terrain of the artwork. Viewed up close, the alchemic reactions of the natural pigment echo that of the interior spaces between stones.

Size - approx a4

Charred Kelp pigment
2021

This works trace the landscape of North Sligo through the charred kelp pigments derived from the shore at Raghly. Charred kelp ink is created through the process of burning, crushing and mulling dried kelp into a deep black pigment that is then applied to paper. Colour is used as a marker of terrain. Each work responds to the idiosyncrasies of specific colours derived from the landscape as well as the surface it is applied to. 

This work explores an expansive and elemental dialogue with the Irish landscape. I transform organic materials gathered at Ballinskelligs into vivid pigments, paints, and inks.

Size - approx a4

Dandelion, Birch Bark and Walnut Ink gathered in Sligo.

This work explores an expansive and elemental dialogue with the Irish landscape.

This piece has three of my early experiments with wild colour and to this day are some of my favourite colours to work with. From the humble dandelion to the lush brown of walnut husks, and the subtle but beautiful tones of silver birch bark. Mounted together vertically, they are the perfect accompaniment to a bright corner space.

Size - each piece is a5, mounted they measure approx 70x 20cm

Ivy and Sloe Berry Ink gathered in Sligo.

This work explores an expansive and elemental dialogue with the Irish landscape.

Size - each piece is a4, mounted they measure approx 45x32cm

The overlapping layers on each piece appear to intertwine, gradients coming in and out of focus. Up close detailed alchemic processes are frozen on the page. The pale ivy tones gather to create colour dense areas that contrast the deep purple navy tones of oxidised Sloe berry ink.

Sloe Berry Ink and Hawthorn Iron Ink gathered in Sligo.

This work explores an expansive and elemental dialogue with the Irish landscape.

The overlapping layers on each piece appear to intertwine, gradients coming in and out of focus. Up close detailed alchemic processes are frozen on the page. The hawthorn ink reacts with the iron to make a plum colour which looks almost blushed onto the surface.When oxidised the Sloe ink deepens into a purple navy.

Size - each piece is a4, mounted they measure approx 45x32cm

Sloe Berry Ink and Hawthorn Iron Ink gathered in Sligo.

This work explores an expansive and elemental dialogue with the Irish landscape.

Size - each piece is a4, mounted they measure approx 45x32cm

The overlapping layers on each piece appear to intertwine, gradients coming in and out of focus. Up close detailed alchemic processes are frozen on the page. The hawthorn ink reacts with the iron to make a plum colour which looks almost blushed onto the surface.When oxidised the Sloe ink deepens into a purple navy.

Charred Oak and Ochre from Ballinskelligs Beach. Created in the depths of winter in 2020.

This work explores an expansive and elemental dialogue with the Irish landscape. I transformed organic materials gathered at Ballinskelligs into vivid pigments, paints, and inks.

Size - approx A5

Charred Oak, Ochre and Purple Silt from Ballinskelligs Beach. Created in the depths of winter in 2020.

This work explores an expansive and elemental dialogue with the Irish landscape. I transform organic materials gathered at Ballinskelligs into vivid pigments, paints, and inks.

Size - approx 30x30cm

Charred Oak, Silt and Ochre from Ballinskelligs Beach. Created in the depths of winter in 2020.

This work explores an expansive and elemental dialogue with the Irish landscape. I transformed organic materials gathered at Ballinskelligs into vivid pigments, paints, and inks.

Size - approx A5

Purple Silt from Ballinskelligs Beach. Created in the depths of winter in 2020.

This work explores an expansive and elemental dialogue with the Irish landscape. I transformed organic materials gathered at Ballinskelligs into vivid pigments, paints, and inks.

Size - approx A5

Charred Oak and Purple Silt from Ballinskelligs Beach. Created in the depths of winter in 2020. 

This work explores an expansive and elemental dialogue with the Irish landscape. I transform organic materials gathered at Ballinskelligs into vivid pigments, paints, and inks. 

Size - approx A4

Charred Oak and Ochre from Ballinskelligs Beach. Created in the depths of winter in 2020.

This work explores an expansive and elemental dialogue with the Irish landscape. I transform organic materials gathered at Ballinskelligs into vivid pigments, paints, and inks.

Size - approx A4

Charred Oak from Ballinskelligs Beach. Created in the depths of winter in 2020.

This work explores an expansive and elemental dialogue with the Irish landscape. I transform organic materials gathered at Ballinskelligs into vivid pigments, paints, and inks.

Size - approx 40 x 50cm

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