The new series of encaustic paintings, entitled “Embodied Landscape,” emerges directly from my artistic journey. This collection is a seamless integration of my daily sketching routine, immersing myself in mark-making and gesture . Through this dedicated practice, I absorb the very essence of my surroundings, intricately weaving together the visual memory of place—capturing its forms, colors, textures, and patterns

The transmutation of these experiences finds expression in my paintings, not through overt consciousness but as a manifestation of the embodiment of my encounters in my hands and body. A profound fascination with geological processes, shaped by time and weather, drives my artistic exploration. I am drawn to the layers that build up over time, gradually revealed by the relentless forces of nature.

Back in my studio, I emulate these geological processes in my art-making. Each painting undergoes a series of stages, mirroring the natural forces that mould landscapes—construction, destruction, growth, and decay. Much like an archaeological process, my paintings evolve through the physicality of layering pigmented beeswax, scraping it back while cooled, scoring, and shaping. This intricate technique results in highly tactile surfaces that invite viewers to explore the nuanced history embedded within each work

 

This series of encaustic paintings is an ode to my deep connection to the landscape of the West coast of Ireland and its unapologetic Beauty.

The naked shores, the twisted trees, the deep cracks and the ruggedness of the stones.

I am particularly interested in the geological processes that have built up layer overtime, layers of the past that the harsh weather is slowly breaking down and revealing overtime.

I think of my art process very much akin to those geological processes

Like the natural forces that shape the landscape and the skyscape, each painting goes through numerous stages of building up, construction, destruction, growth, and decay.

As the paintings go through the physicality of what could be akin to an archaeological process, layers of pigmented beeswax are built up, scrapped back while cooled, scored, and shaped, creating highly tactile surfaces.

Remnants of what has come before are left as a new landscape unfold.

there is no resolution or end point, just process.