40 years

Its our wedding anniversary at the weekend and we’re celebrating with an ‘open house’ event. There will be tea and buns, a glass or so of wine, and LOADS OF PAINTINGS


island life

It started like this, a huge piece of primed canvas (160 x 258cm, the end of the roll), stapled to the floor.

It took up so much of the floor that I had to stand on it to get round it

After a while working on it on the floor, I got Malachy to help me hang it sideways on the wall

And then I turned it round the right way

I taped off the edges, built up more layers and thought it was done.

But something was unbalanced

So finally I took the plunge

There she blows!

Here’s a closeup 

And here’s a photo montage

A good day!

What a week

And I just mean in my studio!

I have been reworking some old canvases and completely repainting some too

These 2 above are each 80cm sq

Here they are with another one the same size and a 65cm one on the end

Here’s a bigger reworked piece

120cm plus it’s frame also painted over

Here’s a fuller view of my favourites (today anyway) – with a sort of invasion of pink

This one and the last one below are a bit odd, and maybe not totally successful. But they were an important challenge for me in terms of structure, form and process. Each 80 cm plus frame

Landmarks series

I have just finished these 3


On the ‘drying wall’ in my studio
The stark light patches are both disrupting and essential ingredients in my studio life! I have an ambiguous love affair with skylights


Landmark 1 / the path
120 x 80cm



Details from Landmark 1/ the path


Landmark 2 / shadows
60cm sq



Details from Landmark 2/ shadows


Landmark 3 / lightshaft
80cm sq



Details from Landmark 3 / lightshaft

1.In November 2014 I visited Ceide Fields – a neolithic site in North Mayo where they have discovered 52 miles of stone boundary walls from a farming settlement over 5000 years old. 
2. This year I am lucky enough to be heading to San Francisco and New York to visit some major art galleries exibiting the works of the American Abstract Expressionists and I am particularly looking forward to seeing some of Richard Diebenkorn’s paintings in ‘the flesh’

I have come to realise  recently how much it helps me to know something about the history or interests of an artist in order to more fully appreciate their work. That’s not to undermine in any way the importance of the solely visual impact. And I definitely don’t like the verbiage and arts peak that goes into many ‘artists statements’. I’m searching for a middle ground and would welcome comments