Very happy to have been selected to show the above image in Beneath the Veil in The House of Smalls, Edinburgh, Scotland from 3 October – 1 November 2025). Coinciding with World Mental Health Day on 10 October, this exhibition focuses on the work of artists using visual art as a means of expression, exploration, connection, release, and recovery.
6th Annual ÍOVA Culture Night Exhibition Venue: Reds Gallery, Dublin Presented by: The ÍOVA Photography Collective
I’m pleased to share that my photograph Unhappiness is included in I Live Here, the 6th annual Culture Night exhibition by the ÍOVA Photography Collective.
This year’s theme, I Live Here, reflects on the many places and spaces we inhabit — in our minds, our bodies, our homes, and our communities. It asks us to consider how these inner and outer worlds shape who we are, and how we, in turn, shape the world around us.
Featuring work from over 50 photographers, the exhibition offers a wide-ranging and personal view of life in contemporary Ireland — exploring belonging, identity, and the ways we find meaning, stability, and connection amid constant change.
Bailieborough Creative Hub’s Summer Exhibition takes places in The Courthouse, Bailieborough, Cavan from Saturday 19 July (opening at 2pm) until Saturday 2 August 2025
‘Dystopian Billboard’ examines the fragile boundary between nature and human culture, using decaying billboards as symbols of both resilience and impermanence. The work reflects on how our constructed landscapes are inevitably shaped and reclaimed by natural forces, revealing the intertwined narratives of humanity, environment, and time.
My environmental work explores the fragile and shifting relationship between humans and the natural world, often through landscapes where the traces of human presence are being weathered, reclaimed, or quietly absorbed by nature. Using photography and site-responsive practices, I focus on the points where growth meets decay, and where the constructed and organic overlap — revealing a space of both tension and transformation. I’m drawn to places marked by erosion, neglect, or abandonment — sites where the effects of time, weather, and human intervention converge. These locations speak not only to environmental disruption but also to the potential for repair. Natural elements and found human debris become materials through which I consider how damage might be acknowledged rather than erased, and how beauty can be found in what has been altered or broken. Central to my practice is the belief that restoration doesn’t have to mean concealment. Instead, I aim to highlight fragility with intention and care, creating work that acts as a quiet form of empathy—for the land, for the passage of time, and for the unresolved traces we leave behind.
I had the pleasure of exhibiting 6 of my images last weekend in the ReVerve Artist Collective group exhibition during the Hinterland Festival in Kells. The exhibition’s theme and the Collective’s theme is the environment.
Dúisigí which is the Irish for Wake Up! was our visual call out to viewers to pay more attention to our world, to what we are doing to our world and the consequences of these actions. My own images explore the fragile and evolving relationship between humans and the natural world, using materials and processes that echo both intervention and care. Through photography and site-responsive practices, I reveal subtle interactions between presence and absence, growth and decay, the natural and the human-made.
I have stitched natural elements and found human traces into these photographs in order to explore themes of disruption and repair. By working with landscapes marked by weather, time, and human debris, the tensions we inherit and the ones we create, as well as the possibilities for rejoining what has been separated are revealed.
Central to my practice is the idea that brokenness holds its own kind of beauty, and that restoration need not conceal damage but can instead highlight it with care and intention. The resulting works are gestures toward empathy with the land—documents of resilience, vulnerability, and the traces we leave behind.
The exhibition took place from 26 – 29th June 2025 in the Blue Chapel, Kells.
Happy to announce that two of my photos have been selected for inclusion in ÍOVA Photo Group’s exhibition Lucid Visions: Dreaming Through the Lens.
‘Dreams are fragmented, shifting, emotionally charged experiences which at their essence have an ephemeral, elusive quality. The show ‘Lucid Visions: Dreaming Through the Lens’ represents an opportunity for artists to manifest their dreams in all their splendour, reflecting on their own internal worlds and how they shape their waking lives.’
I’m thrilled that my piece ‘Unheimlich’ has been included in Hamilton Gallery‘s ‘Bloodroot’ exhibition which was exhibited in Pulchri Studio, The Hague for St Brigid’s Day in early February and will open inSligo on International Women’s Day, 8 March 2025.
‘Bloodroot’ is an exhibition of 110 artworks by women which were created in response to four poems by Annemarie Ní Churreáin from her collection, Bloodroot (2017, Doire Press)
The selected poems are as follows:
Six Ways to Wash Your Hands (Ayliffe, 1978) for the Mother and Baby Homes Commission of Investigation, Bog Medicine Sisters Market Prayer
Inspired by these four poems women artists working throughout Ireland submitted 419 artworks for Bloodroot. 110 of these artworks are included in the final selection for the exhibition.
I’ve been taking a look at the highlights of 2024 and wish to express my heartfelt thanks to everyone who supported me in every way. I couldn’t have done this without you.
The year began well with my image, ‘Guarded Affection’ getting selected for the Arts to Hearts Magazine’s Floral Edition. This was followed later in February with the notification from Cavan Arts Office that I was being awarded the Professional Artist’s Award which has been a blessing as it’s allowed me to not just buy materials but to experiment with materials I hadn’t previously used; learn new skills and progress my practice.
From April – June 2024 Willie Doherty’s exhibition, ‘Remnant’ which investigates the interconnectedness of place, time, and memory opened in Solstice Arts Centre, Navan in the third floor gallery. At the same time my MFA work, A Joining of Self was exhibited in the Café Gallery. The exhibition received a mention by Niall MacMonagle in his Two to View section of the Sunday Independent and at the end of May an In Conversation event was held between author Emilie Pine and myself which informally explored memory and the artistic and personal processes that led to this work.
June 1st saw one of the images from my Forsaken Ireland series selected for an online exhibition under the theme ‘Abandoned’ by The Chateau Gallery and towards the end of June I showed some new work in Humilis, a group exhibition with fellow Reverve Artist Collective members during the Hinterland Festival in Kells, Meath.
This was followed by a quick trip to London to take part in a Mordençage Workshop with the creative and knowledgeable Magda Kuca. It was a wonderful introduction to the process which I hope to find time and space to practice during 2025. While I was in London I took in the Zanele Muholi exhibition in the Tate Modern which blew me away. This workshop was funded by the Award I received from Cavan Arts earlier in the year.
Also funded was a week’s residency at the Tyrone Guthrie Centre in Annaghmakerrig, Monaghan. This was the first time I’d ever had a full week to myself for my practice. It was kind of overwhelming at first but I soon settled in and met a variety of amazing artists from diverse disciplines. I look forward to returning to the Centre in the not too distant future.
August saw a dream come true for me. A Joining of Self was published in Source Photographic ReviewIssue #115, ‘Wounds’. The images were accompanied by an inspired piece of writing by Jennifer Good who wrote: ‘A careful layering of material symbols as light and quiet as the stillest still life, yet woven so tight as to become devastating, the meaning of the work emerges slowly. It confronts us with the fact of abuse and its silencing in places like this one everywhere, every day. The most unsettling of the work’s many symbolic layers, is that the camera she uses is his. It is his twin lens reflex camera: his gaze, also reclaimed. Not-quite twin gazes in a not-quite twin house, inhabited by not-quite the same person, looking at the past and the present at the same time . . . ’ Copies of this issue are available via the link above.
Also in August PhotoIreland’s TLP Editions selected my work for publication as a zine in their TLP Editions zine series. This is available to purchase from The Library Project in Temple Bar or online. I’ve been buying these zines by other photographers for years and am only too delighted to now be included on the list.
Between August and October three images were selected for three different exhibitions organised by Shutter Hub, a UK organisation providing opportunities and support for creative photographers worldwide. The first image to be selected was ‘No One Will Believe You’ for the Shutter Hub Yearbook 2024. Next was ‘Letting Go’ for their Return to the Sea exhibition which is currently on show on the seafront in Worthing, UK and finally, in October, ‘This Is Real Love’ was included in the Your Lens, Your Truth exhibition which ran in conjunction with the Sainsbury Centre in response to their installation, The Camera Never Lies: Challenging images through The Incite Project.
In November, three new images were selected for the annual ‘Surveyor’ exhibition in Solstice Arts Centre which is an Open Call to artists from/based in County Meath. To finish off the year two of these same images were published in Arts to Hearts Magazine, Art & Emotions edition which has been an absolute thrill.
All in all, it’s been an amazing year art wise. Here’s to a happy, healthy, creative and prosperous 2025.
I’m delighted to have had three works selected for this year’s Surveyor exhibition at Solstice Arts Centre, Navan, Meath.
The three images are part of a new body of work I’m making in which I combine the intimate relationship between household items and the emotional narratives we weave around them with specific flowers drawing on the Victorian art of floriography (the language of flowers). They serve as a visual meditation on my journey through a marital breakup, infusing everyday vessels with layers of meaning that resonate with personal themes of frustration and tension.
This image, ‘Domestic Vases: Self-care’ symbolizes both the longing for true love and the importance of self-care. This duality mirrors my struggle to confront the challenges of marriage separation while highlighting the necessity of nurturing myself in difficult times. There’s a rim of dust around the bottle which reflects a lacking in self-care.
Surveyor exhibition is an Open Call to artists from County Meath to submit works of all disciplines with a view to supporting, valuing and encouraging Meath artists in the development of their practices and creative careers.
Artworks were selected by Curator of Exhibitions at Crawford Art Gallery, Dawn Williams.
All are welcome to attend the opening of Surveyor on Saturday 16 November at 2.30pm in Solstice Arts Centre, Navan, Meath. Free admission.
My thanks, too, to Cavan Arts Office for granting me a Professional Artist’s Award which enabled me to spend a week at the Tyrone Guthrie Centre in Annaghmakerrig earlier this year where this particular body of work found its first steps.
On Monday evening last myself and technician Terence spent a number of hours hanging the work from A Joining of Self to be ready for the opening on Saturday 13 April 2024. As I stood there I suddenly felt very emotional and could not help but shed a few small tears. When I think about how far I’ve come and how I could not have gotten this far without the support of many caring people I get a bit overwhelmed. I believe that this body of work is important, not only for me but also for other survivors of childhood abuse. Having been silenced from a young age photography has helped me to express that which I could not put into words before now. It’s taken me forty years and while I do wish I’d come to this point in my healing journey sooner I believe that I just wasn’t ready. I’m ready now and I’m taking back my power. I am silent no more.