I am a Galway-based artist, designer, researcher, and teacher working primarily with textiles, drawing, and installation. My practice is rooted in observation and lived experience, focusing on everyday rituals and forms of labour that often go unnoticed. I am interested in how small, repeated actions shape bodies, spaces, and emotional states, and how these gestures can be translated into material form.

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Textiles sit at the core of my practice due to their tactile and embodied relationship to the body. Through slow, repetitive processes such as embroidery and layered fabric work, I explore tension, movement, and care as material qualities. These methods allow gesture to remain visible, positioning making itself as a record of time, effort, and endurance rather than a finished outcome.

My projects often begin with close observation. Earlier work such as Pour Decision examined the impulsive rhythms of student culture through print, while In Her Hands explored domestic routine as a quiet act of care during a period of grief. My current body of work focuses on construction labour and bodily strain, examining how physical work reshapes the body and how vulnerability and care coexist within labour. Across these projects, I return to questions of how people cope, adapt, and continue through making.

Movement theory plays an important role in my process. I draw on Rudolf Laban’s ideas around effort, rhythm, and bodily action as a framework for analysing gesture. Integrating theory into my practice allows me to better understand physical movement and translate it into stitch, line, and structure. This approach supports my interest in making movement legible through material rather than representation.

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Installation is central to how my work is experienced. Embroidered and drawn textiles are suspended and layered within space, allowing semi-transparent materials to overlap and shift as viewers move around them. Light passing through the fabric emphasises fragility, tension, and absence, while the arrangement encourages slow navigation and close looking. These quiet environments invite reflection on labour, care, and endurance, asking viewers to consider their own relationship to routine and bodily effort.

As both an artist and educator, I view art-making as an embodied form of research and attention. My practice is grounded in the belief that creative processes can give visibility to everyday resilience, revealing the emotional and physical labour embedded within the rhythms of daily life.