I am constantly exploring the intersections between Irish heritage and the visual arts. Despite being seemingly
disparate fields, heritage and art share a common ground in their focus on visual culture, material history, and the
ways objects can speak to larger issues such as aesthetics, identity, and social relationships. Both disciplines are
shaped by discourse and engage with the complexities of Irish female representation, Hiberno-English language
and Colonisation. I play with space, form and expose moulds. I am particularly interested in how these shared
concerns can be used to challenge and subvert traditional notions of historical time and place, and in the ways in
which both heritage and the visual arts can be viewed as performative acts. I am drawn to acts of deconstructing
language and reconstructing poetry objects from fibre, copper weaving, concrete, paint and label it Irish
“indigenous” tapestry art. I am intrigued to imagine it as art discovered in a bog field; blued and tarnished copper
weaving with textile – a surrealist mythology. Or creating a poetry object and not sure if it is a charcoal drawing
of a 3D object made from concrete. And begging questions of alternative Irish Art History. An overarching theme
is the feminine meeting the masculine through the act of digging – digging into concrete, digging into paint,
exposing the shadow and leaving it rest for the viewer to finish its potential. Essentially my art holds space for
intention to divorce meaning/attachment/ and the perceptions of the reader/viewer to dig up new meaning.