High Quality Giclée prints printed on museum quality Fine Art Paper from Arches using Epsom’s Ultra Chrome HD Pigment inks. The prints are made on demand, which means that when you order, it takes a few days for the print to be made, and then it is sent to you. Choose the size of the print you would like from the dropdown menu. The relevant price will then appear at the top of the product selection. See below for more details about the sizes and how they are delivered to you.

Mini/Gift size prints are Open Edition (meaning they are not numbered). The image measure 5 x 7 inches approximately and it comes in a 10 x 8 inch mount with backing in a cellophane sleeve. They are signed and titled on the front with pencil by the artist, (me).

Medium size print are a limited edition of 200 and the image size measures 7 x 10 inches approximately. It comes in a 12 x 16 inch mount with backing board and cellophane envelope. These prints are numbered, titled and signed on the front by yours truly.  

Large size Print are a limited edition of 100 and measure 10 x 14 inches. This size comes rolled in a tube as it is a safer way to travel. It comes numbered, titled, and signed by the artist on the front of the work.

Poster Size Print These prints are the exact same sizes as the original paintings. This size comes rolled in a tube as it is a safer way to travel. It comes numbered, titled, and signed by the artist on the front of the work.

The Original Painting may be still for sale and can be ordered directly through me on the CONTACT page. All paintings are done on Saunders Waterford Paper with Winsor and Newtown Artist Watercolours and in some cases I’ve added some lace paper collage and gold ink.

Mememormee,  Finnegans Wake

I am not a scholar of Joyce. But from what I have read I can say that his genius is remarkable.  When working on some pieces for an exhibition on Joycean-themed images I started to explore the writings of Joyce from a different viewpoint.  I wondered what it must have been like to be in his head with so many overlapping ideas, words, and imagery.  It seemed to me that Joyce wanted to encompass more than just mere words in his writing.  His invented language for Finnegans Wake comes alive when it is read aloud and on hearing this, I started to “see” images in the sounds.

“Mememormee, Finnegans Wake”, is a painting that started with a portrait done from Joyce’s death mask.  While working on it I became aware that I was entering another world.  While I painted I heard repeatedly the words, in memorium, in memorium...  The Word, Mememormee, which is taken from the last passage of Finnegans Wake where Annalivia Plurabelle is dying, suited the sounds that I was intuitively hearing, so this became part of the title of the painting.

While working abstractly I often reach a place in the painting where I have to ‘listen’ to the painting in order to know what happens next.  It cannot be worked through as an intellectual process, rather it is an intuitive one. As I painted, night-time images and sounds of the sea entered my mind in waves and I stared to see an imaginary seascape at night of the view from the back of Joyce’s Tower, in Sandycove (Dun Laoghaire).  However, the physical image of the Martello Tower is not present in the painting. (Howth appears in the background under the full moon which is another setting for Joyce’s work, “Ulysses”).  I felt I didn’t need to paint the Tower, as Joyce’s craggy profile already embodied the spirit of it.  The waves from the sea wash over his memory, crashing and lashing against the collaged words contained in Finnegans Wake. 

As a visual artist, I felt the need to physically reunite the last and first sentences of the book and I did this by using a collage of the text.  The painting also contains the actual hand-writing of Joyce’s wife, Nora Barnacle.