Welcome to the galleries. Here you'll find my work organized into collections that reflect different aspects of my creative journey. Some groupings follow themes that have occupied me for years—the sea, mythology, elemental forces—while others are simply about colour, mood, or the particular quality of light I was chasing at the time. I paint from the heart, and I hope that shows as you move through these pages.
Each gallery offers a different way into the work. You might find yourself drawn to the deep blues and greens of the sea pieces, or to the more figurative paintings where mythology and poetry intersect. Perhaps it's the illuminated glass lamps that catch your eye, or the abstract explorations where pigment and solvent create their own logic. However you choose to explore, take your time. These paintings ask to be looked at slowly.
Navigating the Collections
The galleries are numbered, running from Gallery 1 through to Gallery 20, with each collection holding between six and fifteen pieces. Some galleries focus on a single theme or palette; others bring together work from different periods that share a common feeling or formal concern. Gallery 8 is dedicated entirely to the lamps—glass paintings mounted onto wooden cubes, designed to be both sculpture and light source. These pieces occupy a slightly different territory, where painting becomes object and illumination transforms colour.
You don't need to move through the galleries in sequence. Follow your instinct. If a particular image draws you in, let that be your starting point. The work will lead you where it wants to go. That said, if you're new to the paintings, starting with the earlier numbered galleries will give you a sense of how the medium has developed, how the techniques have evolved, and how certain preoccupations have deepened over time.
Themes and Preoccupations
The sea has been a constant presence in my work. Not the picturesque coastline or the holiday postcard, but something more primal—the weight of water, the quality of light beneath the surface, the sense of depth and pressure and cold. I'm interested in the sea as an elemental force, the kind that appears in mythology as both creator and destroyer. You'll see this in many of the galleries: deep blues and greens, fluid forms, a sense of movement held in suspension.
Mythology supplies much of the narrative framework, particularly Greek and Irish myth. The gods as representations of elemental forces—this has been a lifelong fascination. Paintings of Poseidon, of sea nymphs, of the wild figures from Yeats's poetry, appear throughout the collections. These aren't illustrations. They're attempts to capture something of the energy and terror and beauty that those stories contain. Poetry, particularly Yeats, gives me ideas constantly. His language has a visual quality that translates directly into paint for me.
Colour is another organizing principle. Some galleries are built around a particular palette—ochres and golds, or the cold silvers and whites of winter light, or the intense magentas and crimsons that emerge when you push the pigments to their limit. I love experimenting with colour, seeing how far I can take it before it tips into something overwrought or loses its clarity. The medium I use—powder pigments and solvents baked onto aluminium or glass—allows for an intensity and depth that's difficult to achieve any other way.
The Medium and Its Qualities
It's worth saying something here about how these paintings are made, because it affects how you see them. The process involves fluid mixes that require high levels of control. For more figurative work, I thicken the medium, which makes it easier to work with precision. But for the abstract pieces, I keep it fluid, letting the pigment and solvent interact, creating textures and marks that I can guide but not fully control. The work is then baked onto the surface, which gives it that enamel-like quality—the hardness, the cold smoothness, the depth of colour.
People often want to touch the paintings, and I encourage it. The surface has texture, variation, a physicality that photographs can't quite capture. Some areas are glossy, others matte. Some are built up in layers, others are thin washes of colour. When you stand in front of the actual work, you see how light plays across the surface, how the colours shift depending on where you're standing. The images in these galleries can only give you a sense of that. They're an invitation to see the real thing.
The Lamps and Beyond
The illuminated glass lamps are a relatively recent development, though they draw on techniques I've been refining for years. These are glass paintings mounted onto wooden cubes with internal lighting. When lit, the colours glow, the glass becomes luminous, and the painting transforms into something else—part sculpture, part lamp, part stained glass window without the architecture. Gallery 8 holds the current collection of lamps, and it's one of the most distinctive groupings in the entire body of work.
Beyond the lamps, you'll find smaller studies, experimental pieces, and work that doesn't fit neatly into a category. Not everything I make ends up in these galleries, but what's here represents the core of what I do: painting from the heart, pursuing ideas that won't let go, trying to say something true about the world and the old stories and the elemental forces that still shape us.
Where to Go from Here
If you're curious about the story behind the work, the About page offers more detail about my background, my process, and the influences that have shaped the paintings. If you're interested in acquiring a piece, the Buy page explains how that works, including information about available work, commissions, and studio visits.
Otherwise, simply explore. Move through the numbered galleries at your own pace. Spend time with the images. Let them speak to you, if they can. And if something resonates—if a particular painting catches you and won't let go—trust that. That's what they're meant to do.