AN ARTIST LIVING IN THE HEART OF CLARE
EXPLORING THE SIGHTS AND SOUNDS OF A MYSTICAL LAND WITH QWYNN
Street Art Mural in Cooraclare
KELP MEITHEAL FIELD ILLUSTRATIONS
Documenting the Coosheen Kelp Meitheal: A Visual History of Ireland’s Coastal Heritage.
Qwynn's Field Illustrations featured May 20026 at Clare Museum in Ennis{Músaem an Chláir}and at the Kilkee’s Civic Trust July 8th talk in 2026 that explored the group’s six-month shorework project (May–October 2024) that revived a century-old heritage craft at Coosheen / Farrihy Bay, County Clare.
Qwynn was one of a group of local shore people gathered to harvest seaweed called feams and reconstruct traditional kelp drying methods and build a kelp burning kiln to recreate the 1800’s iodine making process.
These field illustrations are an example of visual documentation that provides an artistic visual framework for understanding these historic harvesting techniques during the community's coastal kelp meitheal. This living heritage project was supported by Clare County Council’s Creative Ireland fund.
About QWYNN
WOOD
GLASS
WOOD
COMING FULL CIRCLE
Qwynn's innovative design process for award winning laser ready wood marquetry drew on all the facets of art that she had already accomplished as she painted all reference material into her own paintings. She then worked out how to how to translate her paintings, including brush strokes, into laser ready marquet
WOOD
COMING FULL CIRCLE
Qwynn's innovative design process for award winning laser ready wood marquetry drew on all the facets of art that she had already accomplished as she painted all reference material into her own paintings. She then worked out how to how to translate her paintings, including brush strokes, into laser ready marquetry designs. She developed an artist wood selection pallet which became her hallmark when working with interior designers, architects and wood flooring manufacturers.
GLASS
GLASS
GLASS:
SEEING THE LIGHT
There is such joy to be found in painting with light. Stained glass truly a medium where colours illuminate the scene. Artworks in stained glass such as “Joy on a Carousel” are enduring, painted in the traditional methods of An Túr Gloine ("The Tower of Glass").
Qwynn's artistic career was formalized at age 18 when
GLASS:
SEEING THE LIGHT
There is such joy to be found in painting with light. Stained glass truly a medium where colours illuminate the scene. Artworks in stained glass such as “Joy on a Carousel” are enduring, painted in the traditional methods of An Túr Gloine ("The Tower of Glass").
Qwynn's artistic career was formalized at age 18 when she was accepted into NCAD specializing in craft design, where she studied designing for wood, glass and stone. Qwynn developed a great admiration for the Arts and Crafts Movement—particularly the pioneering work of An Túr Gloine and the Incredible works of Evie Hone and their competitor, Harry Clarke. She was drawn to the structural limitations of the medium of glass, channeling these constraints into expressive, sweeping black lines of lead to define figures exploding into the environment in radiant spectrum of light and colour.
STONE
STONE
STONE:
ENDURING THE AGES
The rooster featured here is entirely hand cut sheets of stone assembled into a stone marquetry piece.
The very first mosaic that Qwynn was drawn to, was the at the National Museum of Ireland when she encountered the Oppenheimer zodiac mosaic. In the early 2000’s she was honored to learn the centuries old skill of
STONE:
ENDURING THE AGES
The rooster featured here is entirely hand cut sheets of stone assembled into a stone marquetry piece.
The very first mosaic that Qwynn was drawn to, was the at the National Museum of Ireland when she encountered the Oppenheimer zodiac mosaic. In the early 2000’s she was honored to learn the centuries old skill of mosaic cutting with a hammer and hardy, in Venice, under the tutelage of Cavaliere Giovanni Cucco, chief mosaicist/restorerat St Mark's Basilica.
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