The Mayo-based artist’s work borders on magical realism …
Who or what kickstarted your interest in art?
I was always interested in art. My father was very good at drawing and I used to draw with him; he felt I had an aptitude for it from a young age. Throughout my life, I’ve used art as a therapeutic refuge to switch off. I didn’t think it was something I could do for a living, so I went to university and studied psychology. I realise now that psychology and art are not so dissimilar as both help us to make sense of the world. I did many things before going fulltime into art, including a PhD in the philosophy of art and culture, then worked in academia for a couple of years. I finally realised that I really wanted to spend more time making art, so I gave up all employed work a few years ago to devote myself to my own practice.
“Everything I’ve done has informed my art; life and people fascinate me. Making art is a way of participating in the world in a unique way, at a distance.”
How do you describe your work and how has it evolved?
My current work is focused on the magic of the natural world. I draw inspiration from the Wild Atlantic Way where I live, but I aim to create otherworldly spaces. I want my work to counter fast-paced cultural trends. I’d like to foster a decelerated approach to life and create worlds of tranquillity. I believe art provides a place of contemplation, which is why I did my PhD on painting and mindfulness.
My art has developed alongside my experiences and my research, so I’ve been able to put theory into practice. A few years ago, I used to include figures more often to show the small place we occupy, but now I focus more on the vastness of the environment. I really want to create celebratory spaces because we are in such uncertain times and it would be easy to fall into pessimism. I’m very inspired by an article by Professor Graham Parkes entitled, “Awe and humilty in the face of things” where he argues that the environmental crisis is caused by a lack of awe and humility of nature. I believe that art helps us to bring us closer to nature.
Where and how do you work?
If I’m inspired by something I see I sketch and use photos for accuracy. I’m fascinated by the power of the moon, and I use gold and silver leaf to add an otherworldliness I search for. I love doing commissions because they’re a challenge and always bring me to a new place. It’s a collaboration, so we join our visions and I have to make an effort to see from their perspective. It can be a very emotional experience. I become part of the person’s journey, a true honour. I’ve done commissions based on births, deaths, love, friendship, home – all of the milestones and important moments in our lives; people like to mark them with art.
“I love the Japanese concept of wabi sabi, the beauty of ‘imperfection’. Everything in nature is ‘imperfectly’ formed, which makes it beautiful. Everything is unique.”
Could you tell us about your latest collection and its inspiration?
It’s difficult not to be saddened by the environmental crisis, but my paintings are a celebration rather than a lament, which is probably how I cope with it. I believe there’s hope that we can tap into, if we allow ourselves to be enchanted by nature. We have so much to learn from it, we really should pay attention.
I’m especially captivated by the moon and all it symbolises, it’s a constant in a chaotic world. It’s a special symbol, celebrated by the poet Sappho, associated with a myriad of goddesses. It stabilises the earth itself, waxes and wanes, assuring us that change is constant.
I try to imbue my work with a mystical sense achieved through mixed media and symbols including trees that point to our roots in the earth and birds, which suggest freedom. Through my work, I hope to highlight that we are a vulnerable part of our world, like everything else in it. We need to develop a proportioned sense of ourselves where our egos don’t feature and get lost in something bigger.
