Atlantean is a series with a distinct maritime feel where skeuomorphic forms intersect and exist simultaneously in time and space. They explore the human condition of man versus nature, confined to land yet drawn by sea and sky. These sculptures are reminders of a distant past, poetic objects that are deeply rooted in the culture and history of the Atlantic seaboard. Curachs, boats and sails are combined with ship's hulls, shipping containers as well as the waves and surface of the boundless ocean. The ocean, however, is in turmoil and increasingly violent waves are a metaphor for climate change and man's failed attempt to dominate nature. Most works in Atlantean are fabricated as one-offs in repoussé bronze and are closely linked to the Suibhne Series.

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The recurring motif of waves and the sea of the Seabell series responds to the cultural heritage of the European Atlantic seaboard and the spread of language, beliefs, culture and Christian heritage across the Atlantic Ocean and the Celtic Sea. The shape is based on the unique archaeological phenomenon of the Irish medieval handbells of which over 120 from the 7th-12th centuries were found. Keeping the spirit of these hand bells, the Seabells are cast individually in a special ceremony using authentic medieval metal working techniques: lost wax, clay/sand/dung moulds and charcoal fired pit-furnaces. While the original bells are plain, they provide a blanc canvas for integrating seascapes and waves texture into their surface - together with the blue patina a reference to the sea voyages of early Christian monks and the pre-Christian 'imramma' journeys in Early Irish literature.

The Sea Bells have been a recurring theme since 2006, continuously developing in complexity, symbolism and scale. They are individually made and cast on location with reference to bells found in a specific location and the contemporary context of the place - they are site-specific, yet mobile poetic objects. The bells demonstrate the application of ancient processes to fabricate my work and that are informed by my interest in experimental archaeology. They also show the integration of ancient sculptural forms and other forms and concepts in one and the same object. 

 For more information visit the Bells page or the Medieval Handbells page in the Archaeology section.

Supported by the Arts Council of Northern Ireland 2008/09

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This ongoing series is based on the 12th century Buile Shuibhne or the Frenzy of Sweeney. It describes the adventures of Sweeney after being cursed by Saint Ronan after the Battle of Moira (9th century) to haunt Ireland as a mad, yet poetic bird. The original Irish text reconstructed by O'Keeffe, together with Seamus Heaney's recent translation Sweeney Astray were used as references for this series. Avian forms intersect and mingle with nautical and human form, resulting somewhat other-worldy creatures and objects. Two larger sculptures were commissioned by Craigavon Borough Council in 2008 and are sited at Oxford Island National Nature Reserve. 

Sruibh Brain (top) is informed by an early Irish text, the 9th century Imram Brain or Voyage of Bran, where the protagonist Bran (ir. meaning 'crow') sets out on a two-year journey in a curach, an Irish skin boat, to an island in the otherworld beyond time and space before returning to his home where several centuries have passed. Having experienced the change of time perception on sea, the work aims to invoke a sense of timelessness, otherworldliness and nondescript mythical creatures. Avian forms intersect and mingle with nautical forms: a bird scull and beak transforms into the shape of a curach. While made in the ancient process of repoussé bronze (a process of alternating heating and beating a sheet of bronze into shape), an unconventional sculpture material is introduced for the plumage of the crow. Plastic silage foil is layered and burnt, a critical reference to the extend of plastic used and polluting our agrarian and maritime environment. The work demonstrates how I combine ancient and contemporary fabrication methods and materials as well as past and present contexts. The underside of the scull/beak is the shape of a boat, the plumage appears like an ocean surface, showing the transformation of one form into another.

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A series of figurative work in response to the early Irish text Imram Brain or the Voyage of Bran. Immrama were a category of late Iron Age/Early Medieval literature that describe voyages in rowed curachs. The sculptures are an interpretation of Bran's character and quest. This series formed part of a practice-based Ph.D. in cognitive psychology and time at the University of Ulster which explored simultaneity of form in time and space (thesis) in sculpture.

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A series of portraits in bronze for private, corporate and public commissions, ranging from busts to low-relief plaques and full figures.

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