From media to fashion to art, find out about Karen McLaughlin’s career journey and her new exhibition, Quiet Horizons …
You’ve had an interesting career — from media to fashion — before following your passion for art. Can you tell us a little about that journey?
It’s true, my path has been far from conventional, and I have been very fortunate to have had some wonderful opportunities. But every step brought me closer to where I am today. It all began in childhood. My mother, a former Miss Northern Ireland, introduced me to the world of fashion. Together, we designed and decorated stages for local plays. I remember walking my first catwalk with her when I was just five years old. Being backstage, surrounded by excitement with the beautiful fabrics, clothes and statuesque models, all left a lasting impression.
Later, while studying Fine Art at NCAD, I was scouted by a modelling agency, which pulled me right into the buzzing fashion world of ’90s Dublin. I did commercial and editorial work for Irish print and media, and did a little work in the UK. One unforgettable moment was in the ’90s, during a very cool show where I sported wild raccoon-style hair and was dressed in a white bandage outfit, much like a character from The Fifth Element. It was a pivotal moment when a make-up artist introduced me to the world of make-up as artistry, and I knew from then that it would become part of my journey.
‘Expansion,’ by Karen McLoughlin
Being introduced to the creative process behind shoots and shows in my late teens was intoxicating. I was surrounded by incredibly talented photographers, hair and make-up artists, and creative directors; all collaborating on a shared vision. It wasn’t just about fashion, it was about bringing stories to life. I found myself almost jumping out of the make-up seat, wanting to be part of the creative energy, longing to contribute ideas rather than being in front of the camera. Watching these creatives at work lit a spark in me, pushing me to pursue a more active role in production.
From there, I took the leap and studied prosthetics and make-up, which eventually led me to work on productions for the BBC, TG4, and other television and film projects. Being part of these media productions was an incredible experience and I even managed to land the role of head of department on a few smaller projects. I pulled it off but, looking back, it was a bold move and maybe a little ballsy!
Afterward, my career shifted into the corporate beauty world, where I had the privilege of working with some beautiful luxury brands and alongside truly inspiring women. Being in a predominantly female-driven environment was both empowering and transformative. I was fortunate to have strong female mentors who played a key role in shaping my leadership skills, confidence and career. It was an unexpected pivot into the commercial side of beauty but I discovered that, contrary to my previous beliefs, creativity could thrive within business. This move gave me a fulfilling career and lasting memories of working with incredible teams.
However, painting was always there, quietly waiting in the background, so I finally made space for it again. It felt like a homecoming and a rediscovery of something that was unapologetically me. I initially returned to portraits, drawing on my long-standing skills in that area, but I soon felt a deeper pull toward creating my own work – exploring themes of heritage, landscape and history. This shift allowed me to practice art on my own terms, crafting pieces that felt truer to my voice. My work now flows from a place of self-awareness and it’s incredibly rewarding to see how it resonates with others.
‘Gateway,’ by Karen McLoughlin
How would you describe your artistic style?
My style is rooted in the abstract, but quite driven by storytelling and emotion. I’m not interested in simply replicating landscapes – I want to capture an essence – the emotion, memory and histories embedded in the land. Each piece reflects not only a physical and spiritual connection to place, but also the collective energy and cultural bonds we share, as well as the wisdom of our mythological past. My work can be a slow and thoughtful creature, at times meditative, to the point where I lose all track of time. Other moments are more instinctively visceral, driven by a primal guttural energy. The underpainting will always hold incredible value for me; each layer beneath the surface having its own context, which will often inform the direction of the piece. The work is much more than just a literal representation of what you might see.
My artistic process is deeply intertwined with memory and feeling, rather than strict representations or working from photos. I am at my most productive after spending time in nature, and will often begin with plein air sketches and paintings, using those initial images as a reference point.
For me, the land is alive with stories that go far beyond what’s visible. I aim to evoke those hidden narratives; the energy that flows beneath the surface in the absence of time, and our profound relationship and belonging in nature and the ecosystem. To me, painting isn’t just about creating something beautiful; it’s about revealing the profound connections we have with the vastness that both surrounds, and is within, each of us.
‘Returning Home,’ by Karen McLoughlin
Who or what was integral to you pursuing your love of art?
My artistic journey began in Derry, where I was born, and later in Inishowen, Northern Donegal, where I grew up. My grandfather was both a painter and photographer, and his attic studio in Derry’s Bogside is where I first fell in love with art. I spent hours there learning about light, shade and composition. His influence, along with my mother’s artistic creativity, was integral to my pursuit of art.
Growing up in Inishowen, I was surrounded by remarkable sites like Grianán of Aileach Fort, Kinnagoe Bay and Malin Head – places steeped in history, myth and natural beauty. These landscapes formed a deep connection to the land that I try to capture in my work.
As a teenager, I was incredibly fortunate to have been mentored by the late artist, Sue Leopard. She honed my skills at that young age, and taught me how to describe light, shadow and line with charcoal; sparking my obsession with process. I was also influenced by Frank Auerbach’s approach to making and breaking an image. His relentless reworking of a piece until it became something beyond control shaped how I approach my own art.
In my thirties, I got into wellness in a big way. I explored many types of energy work, began practicing yoga and meditation, as well as sea swimming. The longing for grounding always pulled me back to Inishowen. There’s something about an early morning swim in the Atlantic, or a yoga session with a warm flask of cacao in hand, that resets my creativity. The mythologies of Ireland also run through my work. I’m fascinated by how our ancestors recorded wisdom through storytelling, and I try to honour those traditions in my art.
‘Quiet Horizons,’ by Karen McLoughlin
Where and how do you work – at home, in a studio, from memories or photos?
I work between two spaces, both of which offer different energies. My home studio in Drumcondra, Dublin, is in a beautiful redbrick house built in 1906. It’s intimate and perfect for creating quieter, more introspective pieces. In contrast, my studio in Donegal is where I create larger, more energetic works. The Byre Studio used to be my father’s veterinary practice and, before that, housed my grandfather’s horses. There’s a history in that space that makes me feel really plugged in.
I rarely work on just one piece at a time; I like to move between canvases, which sometimes takes some pressure off and prevents falling into the trap of being over precious. I often start a series in one studio and finish pieces in the other; allowing each space to bring out something different in my work. The balance between the raw, untamed energy of Donegal and the measured pace of Dublin feels like it works.
‘Essence,’ by Karen McLoughlin
Tell us about your new exhibition, Quiet Horizons…
Quiet Horizons is showing at Wallace Asti in Dublin until November 15. This body of work reflects my ongoing exploration of the Irish landscape, but it also taps into our emotional and spiritual connections with the land. The horizon represents both a physical boundary and an emotional threshold – the passing of time, changing of seasons and moments that shape us.
Through layers of colour and texture, I’ve woven elements of Irish history, mythology and culture into each piece. The layering process is crucial – it’s like building meaning and history into the work, much like how Ireland’s oral traditions were passed down. Quiet Horizons is about exploring these connections and inviting viewers to reflect on their own relationship with the landscape and their stories.
Do you have any particular favourites in the exhibition, or what do you hope people will take away from it?
Each piece in Quiet Horizons has its own energy, so they all feel like favourites at different times. My hope is that viewers walk away with a sense of connection to the history that shapes us. Art is a conversation and I want these works to open a space for reflection. The land holds deep memory and I believe that, through art, we can access those layers of meaning. I hope Quiet Horizons offers a quiet moment for viewers to consider the thresholds they’ve crossed in their own lives.
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