Artist Statement

The organic process

The blank canvas that confronts me at the beginning excites me, I am swept along by entering the unknown, the process starts with my fingers which are applied to the material that I choose. The mediums form their own narrative which guide my hands and disturb the optical physicality. Found objects are placed in stark contrast to the delicately placed paint, the juxtaposing surfaces imply different intensities, moodiness and freedom.

The use of the colour white

My paintings are generally immersed in white paint, introducing the spiritual. White is perfection, purity and certitude. White as myth, as aesthetic fantasy summons up negative hallucinations, intensely producing a blindness to colour, even when colour is present. White can also be neutral, white does not interfere and allows for clarity, it opens up other colours in the painting that would not be clear with the use of another colour.
I generally use a full spectrum of colour with multiple layers of mixed materials which are layered onto a canvas.

Relationship with the viewer

The aim of my images for me is to connect with the viewer.  I execute images within my paintings that are camouflaged, until awakened by the spirit of the viewer. These feelings are left ignited like Barth’s Author for the viewer to re- kindle. Small Subliminal lines are placed and the viewer who engages becomes part of the story.

What Kind of Painter Am I?

The primary bond between humans is affection, a feeling of having met before.
How does one differentiate between affection and attractiveness?

This is a mystery!

How does affection turn into vulnerability?  How can sex, a personal, subjective experience confirm this affection? We flirt with a visceral indescribable experience that is beyond even the boundaries of paint to describe.

This is the challenge!

This cannot be painted within the framework of figurative or abstract art.  It is somewhere in between. Other artists like Jenny Saville describe the pain of being female. Marlene Dumas strips it back to a pain which is not ours. Tracey Emin's bed is cold, without children, without any kind of journey.  Genieve Figgis makes us laugh but does not engage with how it feels to be alive.

In most situations we feel affection for people because of the way they communicate, which can be done with words or ideas, regardless of their appearance or age.  When we move from affection to attraction we stimulate the senses beyond discursive exercises.  We enter the unknown.  It is this fleeting and primal glimpse of sexuality, set in a bedrock of memory that informs and stimulates my work.

Stimulation sparks alchemy, which provides a magical language to explore. The essence that is within the painting alerts the senses, you can feel the sensation of my media in your mouth, beginning with a chalky dryness and ending with increased saliva. Each canvas while appearing similar tells a tale that can’t be repeated, a once off. Alchemy is evident, silent reactions penetrate some mediums, quietened only by the gesso raincoat.

I practice a lyrical autonomous painting, influenced by phenomenology of perception. My work draws on a multiplicity of artistic traditions from old Masters portraits, abstract expressionism to installation. Using traditional art- making materials I create abstract and figurative formations, experiencing the intimacy of memory through the subconscious. My working process is intensely physical and this energy is conveyed through to the works, inevitably developing into a master-slave relationship with the canvas. I connect with the psychological through a transcendental discourse that projects down onto the canvas forming shapes, shadows nightmares, revealing the soul, humiliating hidden desires that are repressed but freed as they manifest sometimes into a satirical ambiance. This is where the phenomenology of perception begins.

Historical Context

The undulations stimulate the sensors of the brain that are blind to vision but, are sensitive to touch. Something is created, but not contrived as mediums are transfers to the canvas.

I studied figure and portrait painting at The Royal Academy of Art, Florence (summer 2017). In 2016 I graduated from NCAD Dublin with a MFA in painting. At Waterford Institute of Technology, I enjoyed the four year honor’s degree in Visual Art. At the WIT degree show I was awarded the first two prizes. A video instillation which was shown at the Cork film center and the second, a studio bursary from Garter Lane arts Centre in Waterford.

I have adopted a unique style, a formulate practice of turning found objects and enhancing their beauty by strategically applying them to the canvas. Although things that attract me can vary in size, shape and form, the large materials require my full attention and sometimes exhausts me to the point of nausea. The counter-balance is the hunger for more, experimenting with different materials helps me to discover the parts of my physic that sometimes I have to walk away from.  When I paint, I am engaging in an ongoing dialogue, and submerge into an abyss which polvolts me sometimes unexpectedly into an act of brutality, but, I welcome the surprise that develops in my hand. Trusting in simple existence, the intensity that assures consistency leads me along a path without compromise. I am self consciously aware of my own being, existence vibrates.

Metaphors of space have always introduced the play of fullness and the void, volumes surfaces light and shade. And in recent paintings, the notion of figuration and landscape have assumed significance