The first trace of ash dieback in Ireland was detected in Co. Leitrim in 2012. Ash dieback is a fatal fungal disease of the ash tree. Low cost nursery stock imported from continental Europe led to the introduction of the disease to Ireland; these diseased saplings were imported for planting on one of Ireland’s new motorways. The presence of the disease now threatens the existence of a tree with huge ecological, economic and cultural importance in Ireland.

Provoked by the ash dieback crisis in Ireland, Uinse explores our contemporary perceptions of and interaction with the naturalenvironment; that is overwhelmingly based on the separation of Nature and Society.

While the dominant argument links the origins of the Nature/Society dualism with the rise of The Industrial Revolution, Uinse reveals a longer history and an important one to consider if we are to tackle the present ecological crisis. Colonialism, Capitalism, The Romantic Era and The Industrial Revolution have all played a role in shaping humanity’s relationship with nature —even the very idea of nature itself.

Capitalism and colonialism, based on a separation of Nature and Society, tend to understand nature solely in terms of domination and profit, whilst the Romantics tried to reconnect us to Nature itself.

Despite our domination of the environment a sense of alienation lingers. Even the aesthetic framing of nature employed by the Romantics is a distorted mirror of reality that maintains the Nature/Society dualism. In a sense, this idealisation of nature sentimentalises it and separates us further from our environment.

Uinse argues for a new way of being: an epistemological, cultural and political revolution that rejects the Nature/Society dualism and the excesses of capitalism.

(‘Baile na Fuinseoige’ © Government of Ireland 2019)


Following a history of deforestation, Ireland went under a considerable afforestation programme from 1949-88. While targets were met, an industrial approach was adopted. Monoculture plantations, often dominated by the non-indigenous Sitka Spruce were the result.

This project is concerned with humanities fraught relationship with the environment. Valued economically, the environment is viewed as an infinite supply of natural resources which humanity should exploit for consumption, progress and economic growth.

Our idea of nature as natural, non-human and untouched must be re-considered. This work sees humans as part of nature, who have dominated and controled it, with little consideraiton for the next generation.

This work was created during  ‘How To Flatten A Mountain’, a 10-day residency at the Cow House Studios, and was supported by PhotoIreland.


The emergence of the tourist gaze was largely brought into being by the invention of the camera. The newly invented medium adopted the aesthetics of 19th Century approaches to landscape painting; an emphasis on the picturesque and the sublime, a tradition still today adhered to by tourists boards worldwide. The Icelandic tourist board is no exception!

Iceland is presented as 'out of the ordinary': a pure and untouched terrain sculpted over the aeons by natural forces and illuminated by fantastical light displays.

Útlendingur provides a critique of this idealised version of Iceland from the point of view of an outsider. It focuses on the sights of the everyday and seeks to capture the ordinary events within the landscape that don't conform to the mythic narrative. The result is a playful and affectionate subversion of familiar motifs and an alternative representation of Iceland which goes beyond the clichéd images often used as promotional material in tourist brochures and in the mainstream media.

This work was made into a TLP Edition with PhotoIreland and can be bought here: https://tlp.photoireland.org/search?type=product&q=tlp+editions

It was created during a 1-month artist residency at NES, Iceland



The Housekeepers

This album shines a light on the music and lives of five remarkable early 20th Century Irish Traditional Musicians: Ella Mae O’Dwyer, Nora Hurley, Aggie Whyte, Ellen Galvin and Mollie Myers Murphy.

With the exception of a small number who recorded commercially, female musicians of previous generations tend to be remembered as peripheral figures in the tradition. This isn’t a true reflection of their musicality, instrumental proficiency, or the esteem in which their contemporaries held them.

In the course of this project, we delved into the lives of these women and discovered how they occupied a place at the heart of traditional music communities. Some played in dance halls, at house parties and community events whilst others were céilí band leaders, educators and composers.

As a result of family commitments and the social norms of the day, their music-making was largely confined to the home, a state of affairs which goes some way towards explaining why many never got the recognition they deserved. We want to acknowledge this under-representation and our album strives to preserve their artistic legacy for generations to come.

We’re very grateful to the Arts Council of Ireland who afforded us the opportunity to conduct this research. We have since discovered many more talented and innovative female musicians and unfortunately could not include them all. Musicians such as Kathleen Harrington, Elizabeth Crotty, Kitty Hayes, Eleanor Keane, Lucy Farr and Mrs. Dalton have inspired our own music making but we’ll have to leave them for another day!

The CD is accompanied by a 24 page booklet designed by Black Rogue Design that includes writings form our research and archival photographs.

Released May 11, 2019

Fiddle - Doireann Glackin
Concertina - Sarah Flynn
Accompaniment on guitar - John Francis Flynn
Recorded, Mixed & Mastered - Jack Talty
Design - Black Rogue Design
Photography - Donal Glackin

Available to buy here:

For more info: