The new expressionist style of Liam O’Neill focuses directly on capturing the energetic frenzy of his home West Kerry and its people. Inspiration for his work stems from his native place, its community and the daily happenings and events therein.

Gerard’s varied life experiences, his time spent travelling and exploring life, the spontaneity of his works, their boldness, scale and sharp perspectives reveal Byrne’s true natural talent. His is an artist’s eye; something that is inherent, something that cannot be taught.

Born in Ennis, County Clare, in 1958, Mick O’Dea studied at the National College of Art and Design, Dublin, 1981 – 1999, he also lectured at Dun Laoghaire Institute of Art, Design and Technology.

Kathrine attended the National College of Art and Design . However, she is largely self-taught .Her work is concerned with nature, habitat and the
conservation of wild places.  What you see in her paintings is an insect’s-eye
view of the world.

Michael captures and mythologises the West Kerry terrain triumphantly. He paints the untamed Wild Atlantic landscape with vivacity and dramatically charged energy.

Margo captures the totemic animals of her mother’s hillside on the Iveragh Peninsula. There is nothing sentimental about Banks’ ‘beasts of the field’. They shimmer and abound with edgy character: an elemental, mythic presence.

Niall is a draughtsman and drawing is fundamental to the art he makes. He doesn’t try to make definitive views of West Kerry but rather uses the elements of his environment to create his narrative.

Patsy’s influence is the landscape, the sea and the weather. Of her work, she says “Painting is alchemy, from light into pigment, no recipe, no rules and no guarantees. My work is always a visual response to a subject and I revel in the sensuality of paint.”

Aerial views and obscure perspective dominate the work of Tomas O’Ciobhain leaving a haunting impression of the land.

Joby Hickey spent the first few years of his life with early memories of the smell of oil paints from his father Patrick Hickey’s studio, and the old Victorian printing press that his father used when printing etchings.