An oil pastel vessel reflecting the mystery of being.
The recreation of my given name in the Celtic style.
A pair of wolves protect my friend from her nightmares.
Celtic greyhounds pattern. All hand-drawn then scanned into the computer and put together digitally in Adobe Illustrator.
Just a tribute to the incredible zoomorphic Celtic work of the Book of Kells authors
Artistic reconstruction of a Pictish pendant from Erchless, near Beauly, Inverness-shire.
This horse was created for one of my dear friends who I met while pursuing my MLitt in Celtic Studies. She loves horses and was extensively researching key pattern. The spiraling of the joints and the simplified face was based from the descriptions I saw in George Bain’s ‘Methods of Construction’ under animals, specifically the horse. As with most of my animal drawings, I use large spirals for the joints and then add a simple pattern or a more complex motif within the main body. In this case, because my friend was studying key pattern, I used key pattern for the body of the horse. The original artwork is PrismaColor markers on Bristol smooth paper and I made an iron on transfer of it in order to create a t-shirt for my friend.
This piece mixes traditional insular techniques and materials with modern graffiti markers and letter styles. The work is on parchment with the tree of life and the word Ligno created using the geometry and pigments from the Book of Kells including, oak bark ink, cudbear lichen, orpiment, lead, woad and Verdigris. The word Vitae is painted in graffiti markers with the traditional pairing of chrome and black associated with the simpler graffiti scripts. The theme is based on the extinction rebellion terminology for climate change, that the world is on fire.
A commission for the National Library of Scotland in response to a 1930’s English exam question.
Using traditional pigments graffiti markers, and other materials on parchment, I’ve mixed insular geometry with graffiti techniques.