Selected archive: 2008-2024
This archive tracks the evolution of my visual language, from early explorations in printmaking and anatomical studies to the development of my current color-restricted methodology. These works represent the foundation of my inquiry into void, absence, and the psychological landscape.
See you later (2024)
Why is love intensified by absence? > See You Later explores the fact of grieving through the lens of neuroscience and surrealism. Inspired by Mary-Frances O’Connor’s The Grieving Brain, this series maps the "phantom limbs" of our personal ecosystems, the spaces where a loved one remains a permanent fixture in the mind’s map, despite their physical disappearance.
I. See you later in…
Focuses on the domestic landscape—living rooms and kitchens where the removal of a single, familiar object (like a table) forces the viewer to confront the "presence of absence."
II. The Departure
Depicts four characters shown from the back, moving toward a focal point beyond the frame. They are physically present but mentally already gone, representing the transition from the tangible to the remembered.
Exhibition history
2025 Shifting Perspectives, The MART Gallery, Dublin, Ireland
2024-2025 Artform’s Winter Exhibition, The Gallery, Mount Congreve Gardens, Waterford County, Ireland
See you there in the bedroom, Oil paint on gesso-coated plywood panel, 2024, 30x20cm, 11.81 x7.87 inches
See you there in the bathroom Oil paint on gesso-coated plywood panel, 2024, 30x20cm, 11.81 x7.87 inches
See you later, in the dining room Oil paint on gesso-coated plywood panel, 2024, 30x20cm, 11.81 x7.87 inches
See you there in the kitchen Oil paint on gesso-coated plywood panel, 2024, 50x40 cm, 19.68x 15.70 inches
See you there in the living room Oil paint on gesso-coated plywood panel, 2024, 30x20cm, 11.81 x7.87 inches
See you later, back portrait 2 Oil paint on gesso-coated plywood panel, 2024. 40x50 cm, 15.70× 19.68 inches
See you later, back portrait 1 Oil paint on gesso-coated plywood panel, 2024. 40x50 cm, 15.70× 19.68 inches
The Russborough collection (2024)
Produced during The Atelier residency at Russborough House, Blessington. This academic training program was conducted under the tutelage of Will Nathans.
Exhibition history
2025 Inaugural Salon, Schoolhouse for Art, Enniskerry Village, County Wicklow, Ireland
She has lost control - Sold Charcoal on paper, 40.6 x 60.9 cm, 24 x 16 inches
View "She Has Lost Control" as presented in the curated group setting.from the Enniskerry Annual Exhibition, 2025.
Posthumous (2018–2020)
This series serves as a visual investigation into the psychological trajectory of resilience. By moving away from explicit narrative, the work utilizes organic forms and shifting tonal values to map the internal process of navigating life after trauma. The compositions seek to balance the weight of memory with the light of recovery, inviting a universal reflection on healing and the mind-body connection.
Exhibition history
2019 Portes ouvertes des ateliers d'artistes, Lille, France
Drifting, acrylic on canvas, 2020, 50x50 cm, 19.69x 19.69 inches
The sense of trouble, Acrylic on canvas, 2019. 70 x70cm, 27.56x27.56 inches
Posthumous, Acrylic and chinese ink on paper, 2020, 21×30cm, 8.26 × 11.42 inches.
Time blast, 20x20cm, Acrylic and ink on paper, 2019. 20x20cm, 7.87×7.87 inches
You can never take back, ink on paper, 2020, 21×30cm, 9.44×11.44 inches
Blist from hibernia, ink on paper, 2017, 16x24 cm, 6.29×9.44 inches
Maps (2016–2018)
Maps explores the friction between data-driven orientation and the instability of the physical world. Through layered compositions of hard-edge shapes and vivid colors, this series treats the canvas as an 'antique wall' where the present moment—the 'here'—is immediately subsumed by the 'after-time.' These works question the veracity of our documented reality."
Exhibition history
2017 Cashel Arts Festival, Cashel, Ireland
2016 1st Annual Members Exhibition, GOMA Contemporary Gallery, Waterford, Ireland
Shuffle bearings, watercolour and coloured pencil on paper, 2017, 20x28.5cm. 10×14 inches,
Shuffle bearings, acrylic on paper, 2017, 20x28.5cm. 10×14 inches.
The phantom limb Oil on graph paper. 2018, 49x36cm, 19.3 x 14.2 inches. Framed
Bed time: cognitive shuffle, acrylic on canvas, 2017 50x50 cm, 19.68×19.68 inches
L Echappee, Acrylic on canvas, 2013. 55×46cm, 18.11 × 21.65 inches.
Rhythmic direction, ink and coloured pencil on paper, 2016, 14 x 21cm, 5.51× 8.27 inches
Floating 2, pencil on paper, 2016, 30x21 cm 11.02×8.26inches
Floating, pencil on paper, 2016. 30x21 cm, 11.02×8.26inches
Serendipity (2013)
A focused exploration of chance and gesture, this series marks a shift toward the "color-restricted" methodology seen in my current practice. These works emphasize the raw materiality of paint and the "accidental" beauty found when formal control is momentarily relinquished.
Exhibition history
2014 Annual group exhibition, Commonplace Artists'Studios, Dublin, Ireland
2013 L’échappée, Maison natale de Condorcet, Ribemont, France
Anne, linocut on paper, E.A 6/10, 2eme etat, 2013
On the pier, linocut on Arches paper, E.A 7/10, 3eme etat, 2013, 39x29cm, 15.35x11.42 inches,
Explosion in the sky, Linocut print on paper, E.A 4/12, 2eme etat, 2013, 39x29cm, 15.35x11.42 inches
Escape velocity, etching on paper, 2017 23x14 cm, 9.06×5.51 inches
"What is the deepest in man" (2009-2011)
Inspired by Paul Valéry’s assertion that 'the deepest thing in man is the skin,' this series externalizes the unseen movement of the mind. By integrating anatomical elements—pulmonary alveoli, ligaments, and flesh—into domestic environments, the work creates a chaotic dialogue between the biological body and its psychological landscape. The skin is treated not as a boundary, but as an expansive map of fleeting thought.
Exhibition history
2013 L’échappée, Maison natale de Condorcet, Ribemont, France
2012 N 50° 44'36.3 E030 08'43.8, Galerie des 3 Lacs, Villeneuve d'Ascq, France2011 N 50° 44'36.3 E03 08'43.8, Galerie Commune, Tourcoing, France
Bright incision, Acrylic on canvas, 2010 40x60 cm, 15.74× 23.62 inches
Corps fluide, Acrylic on canvas, 2009, 46x62 cm, 18.11 × 24.41 inches
What is deepest, acrylic on canvas, 2011, 90× 72 cm 35.40× 28.40 inches.
Capharnaum, Acrylic on canvas, 2009, 121×98cm , 47.64 x 38.58 inches
Tangere 2, Acrylic and pencil on paper on mounted woodboard, 85x120cm, 85x 120cm, 33,46x 47.24 inches
Tangere 1, Acrylic and pencil on paper on mounted woodboard, 2011, 85x 120cm, 33,46x 47.24 inches
Night of loveless nights (2012–2014)
This body of work is a visceral response to the surrealist poetry of Robert Desnos, specifically the poem "Faire-part," received via email from a late lover. In this series, a modern ghost, a fleeting connection to a departed presence.
Utilising the precise, biting lines of etching and the bold, high-contrast voids of linocut, these pieces navigate the liminal space between dream and wakefulness. The works explore themes of solitude and the search for identity within a fractured nightscape, where the loss is translated into a physical, permanent etched reality.
Exhibition history
2019 Portes ouvertes des ateliers d'artistes, Lille, France
2013 L’échappée, Maison natale de Condorcet, Ribemont, France
Fragments, etching on paper, 2008 11 × 14 cm, 5.51 inches × 4.33 inches
Faire-part, Etching on Arches paper, 2010
But I've chosen darkness, Acrylic on canvas, 2008, 60×74 cm (23.62 × 29.13 inches)
Soldat des songes, Chinese ink and pencil on paper mounted on woodboard, 2008 Dyptique ((2x52) × 167cm, 41 × 66 inches
Aircraft incident report, Etching and mezzotint, Arches white paper. 2010