My art practice responds to my ongoing inner efforts to articulate my Christian faith. I have tried to form a contemporary language of faith, using new, innovative methods and materials in symbolic forms. I am particularly conscious of the role of process, of making, in forming my work, and I see the meticulous, repetitive constructions I use as forms of prayer.

Paper and glass have proved most relevant to my concerns over the 20 years I have exhibited in Ireland and abroad. I use paper as a construction material, and began in the late 1980’s to pigment, distress, tear and reconstruct it into relief works with layering and stitching. This work reflected my intuitive response to nature; its underlying order and mystery I saw as clues to divine presence.

In the early 90’s I moved through the Paradiso of Dante into new materials, and a new rational, geometric, body of work using plaster, nails, pigment, canvas, and, most importantly, glass. I used these various materials for their symbolic value, and glass especially for its intimate dialogue with light.

Gradually these two materials have remained, in various usages, as the carriers of my inner vision toward form. Paper has become for me a kind of ‘human’ material, with its fragile, skin-like and transformable quality. I use it to enact stories of suffering, change, sin, and redemption, through distressing, staining, and stitching into it. Glass is for me the ‘divine’ language of clarity and light. I divide it into thousands of small units that are then bound together into ‘fabrics’ allowing fluidity, strength, and drama. I also use glass in etched layers over my delicate paper, so that they enact relationships between the human condition and divine healing.

In recent years fabric has also re-entered my practice, as linen or canvas that can be stitched, gathered, torn, mended, and painted, stiffened, distressed.  A public commission in 2015 led me toward canvas, and a linen project in 2016 further encouraged a handling of cloth–so that now, in my current work, canvas predominates as a versatile and strong base for stitch, drawing, text, collage, and construction in a major body of work for Norwich Cathedral UK in 2018.

I enjoy working in large-scale, in commissioned works for public spaces that continually challenge my technical and material practice. I am hopeful that my vision in glass, paper, or canvas could find itself useful, inspiring, relevant, to contemporary worship and to places of devotion and contemplation. I have been active in lecturing, writing, and curating in the threshold between contemporary art and the modern Church.
Read more and view work from the following series:

Works in Paper


The Water and the Blood, Fenton Gallery Exhibition

International Exhibits

Public Commissions

%d bloggers like this: