I am an Irish landscape photographer, based in London.  My principal interest is in the intersection of the manmade and the natural worlds, making images that show the imprint of human intervention and construction on the landscape. I explore this using representational and expressionist imagery to reflect our subjectivity when viewing nature and scenery.  What is our subjective reaction and what is objective reality, is there such a thing or is it always a dialogue between the two, incorporating our memories and associations and expectations?  I use landscape metaphorically to examine the effects of geo-politics, in particular man-made borders, and I recently published a book ‘Dividing Lines’ a post Brexit essay using the landscapes of northwestern Ireland as a metaphor for the absurdities of borders and artificial division.  

I’m also a founder member of FIKA book & zine, a photography book collective which published their first collaborative collection in 2024: there are more books, zines and essays in the pipeline. I have exhibited both nationally and internationally, from London to the USA, Greece, France, and the Netherlands and received numerous commendations from a variety of photography competitions. I had my first solo show at the The Photobook Cafe in 2023.

But what it's really all about, in the personal sense; it’s the feeling of being the outsider looking in, ‘outsiderness’. It permeates all my work, pretty much whatever the subject. It’s not judgemental - there is connection and empathy but it comes from a place (un-chosen) outside, observing, intuiting, noticing. I put it down to a peripatetic childhood, and now, to being an ex-pat. Arriving too often in new places as the new girl in school, you assess your new circumstances, the groupings and connections between your new friends, the local behavioural codes, and you learn very quickly to adapt like a chameleon in order to fit in.

But of course, you never really do, it’s in appearances only, you’re still on the outside observing, so intent on working out how you should appear that you forget who you are. Like the background to my early years, my images also change – there's an inherent assumption of change, from place to place, school to school, and I absorb the impressions of everywhere I go. So in photography, I move between different modes as I have always moved between places and backgrounds, but the essence is the same; in all there is the same underlying current. I very rarely photograph people because my view is so subjective and observational and because, as an outsider, I would feel like an intruder, trying to impose upon the inner life of another - I am not them, I am almost a ghost or a cipher, just passing through.