
Midnight Market (2023) Oil & Acrylic on Canvas, 150 x 110 cm

Fallow Bridge (2023) Oil & Acrylic on Canvas, 145 x 100 cm
Foresters Parade (Midnight), (2024) Wooden Construction, Paint, Ceramics

Foresters Parade (Midnight), (2024) Wooden Construction, Paint, Ceramics
Fallow Bridge (2023) Oil & Acrylic on Canvas, 145 x 100 cm
For Artworks 2025, I propose an iteration of recent works ‘Irish Street Stores’ / ‘Foresters Parade’ and ‘Slip Away’ both works that respond to the overlooked and forgotten. ‘Irish Street Stores’, parts of a salvaged shop front reimaged in a gallery context. A weathered downpipe, layers of paint chipping away from the surface, a hemmed-together door is lifted from its frame. Deconstructed and embellished, it takes on a new persona. A stand-in rose window acts as a keyhole, offering a glimpse into an off-kilter but familiar world. Masked ceramic works mingle at a reconstructed entrance. Embedded in this are paintings that hint at a world gone awry, figures and faces stare from dwellings that are difficult to pin down. Day and night meld into one. The bar/grocer stands as a local derelict relic in the broader theme of consumerism and globalisation. Redundant wrought iron bridges and overlooked passageways trade with scaled-up beings that are at odds with their surroundings.
“His compositions sometimes read like theatre sets for ghost stories set in a somnambulant land.”
Cristín Leach
Extract from ‘IT WOKE ME FROM MY SLEEP” (2023) Download Essay (PDF)
Slip Away, (2023 - 25) Wood, Paint, Bisque Fired & Glazed Ceramics, 137 x 80 x 92 cm

Slip Away, (2023 - 25) Wood, Paint, Bisque Fired & Glazed Ceramics, 137 x 80 x 92 cm

Night Watch (Snakes), (2025) Glazed Ceramics, 12 x 12 x 10 cm,

Slip Away, (2023 - 25) Wood, Paint, Bisque Fired & Glazed Ceramics, 137 x 80 x 92 cm

Slip Away, (2023 - 25) Wood, Paint, Bisque Fired & Glazed Ceramics, 137 x 80 x 92 cm

At the Gates Teasels did Gather, (2025) Glazed Ceramics, 12 x 12 x 10 cm
‘Slip Away’ builds a universe where the potential of ceramics can be more fully explored. Utilising a high-keyed palette, disjointed narratives are drawn from a diverse range of sources and given sculptural form. Recurring motifs such as pleasure boats and masked figures coexist alongside distorted beings that seem at odds with their surroundings. Recent ceramic pieces feature a more ambitious scale, mirroring the dimensions of the monotypes and paintings. This interplay of processes fosters a visual amalgamation that encourages themes to crystallize. What emerges is the latent quality of memory, highlighting its ability to adapt and transform into fictionalised histories that inhabit a liminal space. In this context, marketplaces, dilapidated houses, and crumbling, nondescript buildings are populated by bewildered figures, each appearing to lose themselves in scenarios that often tread the line between the fantastical and the absurd.
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