I am an Irish artist who grew up in the Republic of Ireland, and later lived in Belfast, Northern Ireland — during the Troubles and after the Good Friday Agreement. This experience of moving between two contested cultural identities continues to shape my work, particularly in how history, memory and representation are constructed and inherited. My practice explores generational trauma and epigenetics and the erasure of historical memory within post conflict societies. I am interested in how these forces are processed through bodies, objects and cultural forms and how they persist even when histories are supressed or re-written. 

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I work with soft and hard sculpture, using materials such as porcelain, embroidery, textiles and mosaic to create sculptural figures that draw on classical forms. Using Parian porcelain a material developed to emulate marble when fired, I slip cast busts that appear vulnerable or wounded. These are often embedded within larger life-size or oversized bodies that are wrapped in hand-worked materials such as fleece wool, embroidery and glass wax. Classical references such as Caryatids and Sphinxes are reconfigured through these materials, shifting them away from ideas of monumentality and power towards something more unprotected and uncertain. The rich array of material explorations coupled with the considered use of colour in my installation work leads to what I describe as controlled maximalism. 

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By combining craft based processes with sculptural traditions, I rework familiar art historical forms into figures that carry traces of both past and present. Surfaces are built up through stitching, embroidery and layering, creating skins that feel both protective and exposed. The work sits between monument and body, ornament and wound, drawing attention to how identities are shaped, performed and remembered.