In this new collection, I explore the storytelling potential of texture through encaustic painting, where cracks, ridges, and smooth planes form a visual language. Each surface becomes a map shaped by the unpredictable nature of molten wax,. The interplay of texture and form mirrors the way landscapes tell stories, revealing their histories through every fracture, erosion, and contour.
The encaustic medium itself embodies the storytelling process. Fluid and volatile, the wax transforms through gestures, large brushes, and subtle manipulations, cooling into surfaces that resemble rugged cliffs, flowing rivers, or soft dunes. Each mark is deliberate yet shaped by chance, much like the way narratives unfold over time. These textures speak of transitions, resilience, and the tension between control and chaos.
This series invites viewers to engage with texture as a language. Each piece tells a story through its topography, capturing moments of transformation and inviting interpretation.
Inspired deeply by the natural world, these works draw from the surfaces and patterns found in the environment: the cracks of parched earth, the erosion of rocky cliffs, and the rippling of sand dunes. These elements are more than visual references; they become metaphors for the shifting terrains of life and the stories embedded within them.
Through this work, I aim to transform texture into a tool for narratives to be read, where every ridge, groove, and plane holds meaning.
You can learn more about my process of creating these on my Instagram
These paintings are one of a kind, original encaustic painting, an immediate and tactile painting method using molten pigmented beeswax.
Artworks made with Passion, Fire and Wax.
Authenticity certificate provided.
Created on cradled birch panel. The birch panels have solid ’’wood cradles that ensure strength and is easy to hang, as no frame is necessary.
This collection 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.
