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.

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.”

Liam describes his style as ‘abstract expression’. Holden’s work stems from memories of lobster fishing in Dingle in the 80s, and the sea in all its incarnations continues to be his main inspiration.

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

Primitive, naïve art influenced Deborah Donnelly towards a simplification of form. She prefers to capture the fleeting moment rather than meticulous detail.

Denise Hussey’s work reflects the relationship between herself and her environment during different periods of her life. It is about how she feels in the context of her surroundings at a given time.