Original Works

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Gracehill Church, Original Abstract

Northern Ireland UNESCO Site

Acrylic on 60x60cm Deep edged canvas (unframed)

£600 + Delivery (Collection available locally)

  • A place abstracted, not erased. Gracehill's Moravian architecture reimagined through bold colour blocks and gestural form—heritage meeting contemporary vision.

    Place holds memory. Architecture carries history. This work doesn't document—it interprets.

    Part of an ongoing and exclusive series inspired by Gracehill, Northern Ireland's second UNESCO World Heritage Site. The village's distinctive Moravian buildings—founded in 1759 and centred around a green square—become chromatic geometry here. That black spire anchors the composition just as the church anchors the village. This is a print of an original acrylic on canvas work by me.

    About Gracehill:

    The best-preserved Moravian settlement in the UK and Ireland, Gracehill remains home to an active congregation upholding centuries-old traditions. In 2024, it joined the Giant's Causeway as Northern Ireland's only UNESCO-designated sites.

    This series ranges from large abstractions to architectural studies, with select works now displayed in Gracehill Primary School where I have led workshops with village children.

Theres No Need To Do The Dance Anymore No.1

Acrylic + Oil Pastel on 51x51cm canvas (unframed)

£600 + Delivery (Collection available locally)

  • This painting exists in the space between momentum and resistance, where the impulse to advance meets the refusal to be consumed by it. It holds the exhaustion of perpetual striving—the cultural demand that we always be climbing, competing, outpacing—and counters it with something more elusive: a deliberate withholding, a chosen opacity.

    The work doesn't resolve its own tensions. It insists on ambiguity where clarity is expected, on stillness where movement is demanded. There's a quality of restlessness here, but also of withdrawal—an acknowledgment of the forces that push us forward while maintaining a core that won't be fully mobilized or mapped.

    What emerges is less a statement than a state of being: caught between the pressure to perform and the quiet defiance of simply existing otherwise. The painting suggests that resistance doesn't always look like opposition—sometimes it looks like refusing to cohere, declining to deliver what's expected, choosing incompleteness over the tyranny of progress.