Previous Artworks 2008-2020
From 2008 to 2020, I explored various mediums, including etching, drawing, clay modeling and acrylic painting. I experimented with both monochromatic and vivacious color palettes. This period helped me refine my style, moving towards a more controlled and precise approach while maintaining my personal expression.
Posthumous, 2018-2020
This project aims to capture the psychological journey of survivors, from fear and anxiety to hope and resilience, as they navigate life after trauma.
Rather than providing explicit narratives, the project seeks to inspire others to process their own experiences and find healing in their own unique way.
Artwork has been featured in the following exhibition:
2019 Portes ouvertes des ateliers d'artistes, Lille, France
Drifting, acrylic on canvas, 2020, 50x50 cm, 19.69x 19.69 inches , 750€
The sense of trouble, Acrylic on canvas, 2019. 70 x70cm, 27.56x27.56 inches €1,200.00
Posthumous, Acrylic and chinese ink on paper, 2020, 21×30cm, 8.26 × 11.42 inches. 210€ (framed)
Time blast, 20x20cm, Acrylic and ink on paper, 2019. 20x20cm, 7.87×7.87 in inches €180.00 frame included
You can never take back, ink on paper, 2020, 21×30cm, 9.44×11.44 inches . €210.00 (frame included)
Blist from hibernia, ink on paper, 2017, 16x24 cm, 6.29×9.44 inches. €160.00 (frame included)
Maps, 2016-2018
Maps always intrigue me.
How can we find our bearings when data shifts beyond our control? I stand out from this global transition as I start to paint a whole panoply of layers beneath me. Places build up as antique walls. These rooms contain fabric which folds over time. Only vivid colours and hard edge shapes impose themselves beyond this time.
Data is collected to make maps more logical. Are they true or arbitrarily drawn? Where am I on this earth? Which data is relevant to guide me on my way? When I was creating these maps close to an immediate veracity of truths, I have come to the conclusion that I will not succeed in this. Unless I admit the “here” stands only before us and lapses quickly after.
These maps where here is now. Right today, wrong tomorrow.
Plans have caged wanderers, our souls shall move forward regardless.
Certain artworks from this series have been featured in the following exhibitions:
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, 280€ (frame included: 25x35cm limed white frame)
Shuffle bearings, acrylic on paper, 2017, 20x28.5cm. 10×14 inches. 280€ (Frame included 25x35cm limed white frame).
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.€780.00
Floating, pencil on paper, 2016. 30x21 cm, 11.02×8.26inches,
Rhythmic direction, ink and coloured pencil on paper, 2016, 14 x 21cm, 5.51× 8.27 inches €150.00 framed
Floating 2, pencil on paper, 2016, 30x21 cm 11.02×8.26inches
Serependity, 2013
Thi serie created during a transformative year in Westport, Ireland, reflects the theme of serendipity. This period marked my transition from my previous student life to a full-time professional career.
In this work, serendipity becomes a central theme as I explore how chance encounters and unforeseen opportunities influence our lives. The linocut medium, with its deliberate yet unpredictable nature, mirrors this concept. The carving process, once committed to, can lead to surprising outcomes, much like the twists and turns of life itself. Each mark on the linoleum, whether precise or accidental, contributes to the final image, revealing beauty in the unplanned.
Residing at the Harbour Mill on Westport Quay, with views of the serene seaside, provided both inspiration and a reflective backdrop. The contrast between the stability of a full-time job and the uncertainty of the future is expressed through bold, contrasting lines and textures in the artwork.
This piece symbolizes my acceptance of the unexpected, embracing serendipity as a guiding force in both life and art, where moments of chance are not merely incidental but integral to the creative process.
Artworks have been featured in the following exhibitions:
2014 Annual group exhibition, Commonplace Artists'Studios, Dublin, Ireland
2013 L’échappée, Maison natale de Condorcet, Ribemont, France
Explosion in the sky, Linocut print on paper, E.A 4/12, 2eme etat, 2013, 39x29cm, 15.35x11.42 inches, 150€
Anne, linocut on paper, E.A 6/10, 2eme etat, 2013, 110€
On the pier, linocut on Arches paper, E.A 7/10, 3eme etat, 2013, 39x29cm, 15.35x11.42 inches, €110.00
Escape velocity, etching on paper, 2017 23x14 cm, 9.06×5.51 inches, 150€
What is the deepest in man, 2009-2011
The "What is deepest in man is the skin" series represents the unseen movement of the mind. On the acrylic canvas, the "under skin uniform" is brought to the surface, directly integrated into its immediate surroundings.
Each painting holds a group of organic or vegetal protuberances. Blood cells, pulmonary alveoli, or ligaments erupt out from the chaos of everyday objects, such as fire hydrants and mattresses. The scale of these elements has been adjusted to create a structured composition. Anatomical body elements shed their shape complexes through the tension of bold colors. Flesh is exposed using uninhibited colors that seem to expand the body into a vast landscape. The skin becomes a space whose boundaries are only defined by sight.This series echoes Paul Valéry’s quote, "What is deepest in man, it is the skin – as he knows himself." To know ourselves, as the body knows things that we ignore, we must take the trouble to investigate under the skin. By turning human body elements from their natural environment (“Territoires,” 2009), we can see ourselves outside our body. Flesh and bones are liquefied in acrylic paints, rendering them unable to resist cerebration.The fight between the body and its thoughts creates a chaotic atmosphere where the artist's tracks are deliberately covered. This representation of random objects (“She Looked Closely at Herself,” 2007) and body elements tends to collect fleeting thoughts in an efficient blend of colors. The shapes move back and forth, symbolizing the vivacious perplexity of ourselves.
The skin, which receives different successive shades of light, maps thoughts in various patterns. But no matter what you think, above all, flesh and bones are what you are. In this series, the skin is peeled away, so where is the deepest in man?
Certain artworks from this series have been featured in the following exhibitions:
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 740€
Corps fluide, Acrylic on canvas, 2009, 46x62 cm, 18.11 × 24.41 inches €860.00
Tangere 2, Acrylic and pencil on paper on mounted woodboard, 85x120cm, 85x 120cm, 33,46x 47.24 inches 2600€
Tangere 1, Acrylic and pencil on paper on mounted woodboard, 2011, 85x 120cm, 33,46x 47.24 inches 2600€
What is deepest, acrylic on canvas, 2011, 90× 72 cm 35.40× 28.40 inches. 900€
Capharnaum, Acrylic on canvas, 2009, 121×98cm , 47.64 x 38.58 inches
Night of loveless nights (Faire-part), 2008-2010
In my "Night of Loveless Nights (Faire-part)" series, inspired by Robert Desnos' Faire-part, I explore themes of absence, longing, and emotional detachment through etchings, mezzotints, acrylics, and Chinese ink, capturing the haunting, surreal essence of Desnos' poetry with contrasts of light and shadow.
Certain artworks from this series have been featured in the following exhibitions:
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 €110.00 Frame included
Faire-part, Etching on Arches paper, 2010 €120.00
But I've chosen darkness, Acrylic on canvas, 2008, 60×74 cm (23.62 × 29.13 inches) 800€
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