Icon with double crown.

16 x 22 inches

Mix of yellow gold and moon gold leaf (24 carat).

Precious stones: Red coral stone and black onyx (meaning: strength, vitality, courage and ability to persevere) and turquoise.

Gilding on glass (lower part of icon):  Our Lady and St. John at the foot of the cross. A reminder of the final judgement at the end of the world.

The original icon Our Lady of the Gate of Dawn is located in Vilnius, the capital of Lithuania. Many miracles and healings have been attributed to the original icon.

Cross with grapevine

Gold on silk and Swarovski crystal bead

8 x 10 inches

I based this design on a pattern I saw on a Roman stole. I modified it to extenuate the grapes and vine leaf wrapping around the cross, primarily because big bold designs work effectively with goldwork embroidery. But also to connect the idea that, God, who is truly present in the Holy Eucharist under the species of bread and wine, is intimately connected with the Holy Cross that each of us must carry.

I pray and meditate while I am working and I enjoy being able to combine my creative artistic side with my spirituality and prayer life.

Archangel Gabriel Annunciate
After Fra. Angelico

12 x 15 inches

Finest quality gesso board from Italy, egg tempera, 24 carat gold.

Originally painted between 1450 and 1455 by Fra Angelico, a Dominican friar. In modern Italian he is called “Beato Angelico” (Blessed Angelic One).

Lily

Stranded cotton on silk

2018

6 x 6 inches

Silkshading, also known as “painting with a needle”, is a style of embroidery that allows you to use a range of coloured threads, blended together to create a natural appearance of a flower, fruit or animal.

Here I have chosen to create a Lily, a symbol of Our Lady.

Silkshading can be seen on traditional vestments for creating floral patterns or with the stitches worked vertically to create a tapestry, often of a saint.

The man or angel, symbol of St. Matthew, writer of the first gospel. Book of Kells, folio (f.27v).

5” x 8“ gesso board, 24 carat gold leaf.

10 x 15 inches

Lamb of God  “Ecce Agnus Dei”

Damask, silk, wool, cotton, kid leather, gold threads

18 x 19 inches

Appliqué is a form of needlework that has been used by the church for centuries to decorate vestments, ecclesiastical banners (like those during Corpus Christi processions) and for other church furnishings.

 ‘Lamb of God’ is a title for Jesus that appears in the Gospel of St. John (John 1:29), where John the Baptist sees Jesus and exclaims, “Behold the Lamb of God who takes away the sin of the world”. It is also a standard part of the mass.

I have chosen to use Pentecost colours; red, white and gold to emphasise the redemptive and sacrificial death of Jesus followed by his glorious resurrection.

Damask was used for the background fabric. Damask production was one of the five basic weaving techniques of the Byzantine and Middle Eastern weaving centres of the early Middle Ages. It derives its name from Damascus, a city active in trading as part of the silk road.

Baroque flowers

Goldwork on royal blue velvet and kid leather

11 x 9 inches

Goldwork is the art of embroidery using metal threads. This piece gold thread have been laid or couched onto the surface fabric which is velvet and carefully secured using a couching thread waxed in beeswax for protection and longevity. A traditional tool called a mellor and a stiletto was used to position the threads and create the holes needed to pull them through the velvet and secure them tightly on the other side of the fabric.

There are several types of metal thread that have been used in this piece to create different textures, for example; passing, Japanese thread, purl-purl, check, Rococo, Elizabethan twist, broad plate and of course spangles and beads.

Goldwork (also called Opus Anglicanum) was developed in the Middle Ages in England where it was used extensively in church vestments and hangings. It was used later in clothing and furnishings for royalty and nobility throughout Europe, and later for military and other regalia. It reached its high point, in 20th century Spain, for clothing statues of Our Lord and Our Lady, most notably, during the Spanish Holy Week processions in Andalucía.

I was inspired to design this piece based on some Baroque flowers I saw at the Brompton Oratory that were carved into the stonework on the outside of the building. I love the combination of goldwork on velvet as can often be seen on vestments, liturgical furnishings and processional banners.

St. Finbarr’s Church by the lake, Co. Cork, Ireland

Appleton wool and stranded cotton on canvas

6 x 9 inches

Canvaswork was used in a basic form on medieval vestments and furnishings. I have used this technique to blend colours in a design that creates a realistic effect, depth and movement. This piece was worked on an open weave (18 point) canvas. This technique can be used for seat covers and rugs.

Tree of Life

Appleton wool on linen

9 x 12 inches

‘Crewel’ is the old Welsh word for wool. One of the earliest examples of crewelwork is the Bayeux Tapestry, which tells the story of the Norman Conquest. Crewelwork was popular for ecclesiastical embroidery. The technique gained more popularity during the reign of King James I of England in the first quarter of the 17th century. Crewel embroidery is characterised by fanciful plant and animal motifs worked in a variety of stitches with a two-ply wool yarn on a linen twill. These became popular designs for curtains, bed hangings, soft furnishings etc.

8 x 6 inches

Pencil on paper

For this piece I took an image by Giotto of Our Lady and St. John at the foot of the cross. I sculpted the image into gesso and carved in the detail. I then polished it and covered it in bole before laying on the 24 carat gold leaf.

8 x 10 inches

St. Francis preaching to the birds
After Giotto

Egg tempera on gesso
15 x 11 inches

This piece forms part of my preparatory studies for a commission for a church baptistry. The priest requested that I do something on the theme of nature, using bright, vivid colours to contrast with the church. Being a lover of animals and nature myself, the first image that came to mind was this one, St. Francis preaching to the birds.

The original is a fresco located in the Basilica of St Francis of Assisi in Assisi, Italy (original dimensions 270 x 200 cm).

St. Bonaventure, Major Life of St. Francis, Ch. VIII, No.9:

“One time when Francis was walking with another friar in the Venetian marshes, they came upon a huge flock of birds, singing among the reeds. When he saw them, the saint said to this companion, “Our sisters the birds are praising heir creator. We will go in among them and sing God’s praise, chanting the divine office”. They went in among the birds which remained where they were, so that the friars could not hear themselves saying the office, they were making so much noise. Eventually the saint turned to them and said, “My sisters, stop singing until we have given God the praise to which he has a right”. The birds were silent immediately and remained that way until Francis gave them permission to sing again, after they had taken plenty of time to say the office and had finished their praises. Then the birds began again, as usual.”

St. John the Baptist Icon

Egg tempera on gesso, 24 carat gold

10 x 8 inches

Madonna and Child in a landscape, after Titian

Work in progress.

Oil on gesso board

Madonna col Bambino nel paesaggio, the original painted in 1507 by Titian, uses colour’s immediately identifiable with the Venetian style and that of Giorgione.

The Madonna is seated in the Venetian countryside in what is thought to be Titian’s birthplace, Cadore. The rosy sky suggests it is dusk. The composition shows a deep intimacy between the Madonna and Child, the mother is voluptuous and the child is plump, full of energy and playing with his mother’s hair.

The subsequent stages will involve painting the finishing touches and detail to the hair, face and hands.

Madonna and the Chair, after Raphael

Oil on canvas

16 x 12 inches

Madonna and the Chair “Madonna della seggiola” was painted by Raphael during 1513-1514 and housed in the Palazzo Pitti collection in Florence.

This painting has a beautifully warm quality that conveys the intimacy between the Christ child and the Madonna. This is conveyed through asymmetrical fluid shapes and warm colours.

Traditional methods and pigments have been used here and in particularly Lapiz Lazuli for her lower garment.

I have included photos showing the developmental stages of this piece to demonstrate the traditional way of building up an oil pointing in layers, that is; beginning with a monochrome under painting in burnt sienna, then including the whites and darkening of the tones (a modulation of the light and dark areas), and finally adding the colours.

After Peter Paul Rubens (1577-1640).

Portrait of Clara Serena Rubens, the Artist's Daughter.

St Nicholas

Egg tempera, 24 carat gold leaf on gesso board

10 x 13 inches

St Nicholas, Bishop of Myra (Feast day Dec 6th) also known as the Wonderworker. He is an ever-active intercessor performing practical miracles of healing and rescue. He is the patron saint of sailors, merchants, archers, repentant thieves, children, brewers, pawnbrokers and students in various cities and countries around Europe.

 He is said to have rescued three girls from being forced into prostitution by dropping a sack of gold coins through the window of their house each night for three nights so their father could pay a dowry for each of them – leading to the legendary story of Father Christmas!

His body is enshrined at Bari in Italy.

Still Life with a Glass of Champagne, after Johann Wilhelm Preyer

Oil on canvas

10 x 14 inches

Here I have used traditional oil paints using techniques developed by the master’s during the Dutch Golden Age.

This technique uses the classical method of chiaroscuro and the practice of painting egg tempera on top of oil paint in order to create the delicate blending of tones and colours.

I have included photos showing the developmental stages of this piece to demonstrate the traditional way of building up an oil pointing in layers, that is; beginning with a monochrome under painting in burnt sienna, then including the whites and darkening of the tones (a modulation of the light and dark areas), and finally adding the colours.

Shield of St. Philip Neri.

St. Philip Neri was an Italian priest (1515-1595) and founder of the Congregation of the Oratory (Oratorians).

Goldwork, bead work and mixed materials. Hand-embroidered on the back of a chasuble.

Matador

Linen and cotton

2018

'Blackwork' is a style of embroidery that originated from Andalucía in Southern Spain and was brought to this country by Catherine of Aragon who was a keen needlewoman. As she had grown up in the Alhambra Palace she was influenced by the geometric repeated patterns used to create larger forms and shapes.

I used to live in Spain and would watch the “Corrida de Torros” frequently. I remember the excitement and energy created by the band of musicians, the ladies in their beautiful ferial costumes and the mesmerising light of the hot blazing sun. The relationship between the matador and the bull represents for me, a mixture of sentiments ranging from beauty, tragedy, drama, loss, failure and unpredictability. The looming presence of death is something that keeps the matador on his toes, awake and aware of his actions and a heightened state of awareness that that glory must be honestly gained.

This piece had been worked on a 35 tpi Edinburgh even-weave linen with a variety of thicknesses of cotton thread, (stranded cotton, coton à broder, machine and gossamer threads). By varying the thickness of the thread I was able to build up areas of dense shadow and shade and other areas that are lighter the pattern is broken up. This has been worked by hand using a square embroidery frame held up with a pair of trestles whilst working. These are traditional methods and ways of working that haven’t changed since the Middle Ages.

(9” circular gesso board)

This is a design in the Book of Kells, taken from folio 29R at the beginning of the Gospel of St. Matthew. I have enlarged it in order to appreciate the detail. The original would have been only a couple of inches in diameter. I have stayed true as possible to the original colour palette, including orpiment for the two intertwined snakes at the bottom, red earth and bone black for the outline.

I used Celtic and Pictish patterns found in the Book of Kells and Lindisfarne Gospels.

The Celtic heart knot represents the heart of the home.

The key patterns (around the middle) represent creativity, fruitfulness and life.

The step patterns (in the four corners) represent correct orientation, focus and place.

The knot pattern with crosses (around the border) represents safety and protection.

I drew the geometry and pattern grids by hand before painting it in egg tempera and shell gold on cotton paper.

(16’’ x 16 ‘’)

A personalised, hand painted wedding invitation card design for my own wedding

There is a double cross bar to symbolise to people coming together in holy matrimony. The laurel leaf represents the triumph of life and continuity as we the couple enter a life of wisdom and stability.

As the wedding was conducted at the former Spanish Chapel, the central flower resembles a red and gold sun. It was also a Christmas wedding and so there is a sprinkling of winter plants and berries.

Watercolour on paper, genuine 24 carat gold leaf.

10 “ x 10” (framed)

I found this illumination in a medieval book of gospels at Pembridge College, Cambridge (c.1020, folio St. Matthew the Evangelist).

The cube is : 6” x 6” x 6”

Clay tile panel (22 x 22 inches)

The rules of geometry reveal the sacred and eternal truth of the Catholic faith.

Clay tile panel (22 x 22 inches)

The Cross remains the central building block to certitude of truth.

Clay tile (6 x 6 inches)

The light shines through the brokenness.

The hidden cross is the way to eternal life.

Traditional Celtic knot pattern

Baroque flower

Baroque border decoration (work in progress)

Kashan Tiles : Tribute to the Three Wise Men

Ceramic tiles (blue and copper reduction lusterware technique)

15 x 15 inches

Kashan is a city in Iran that is associated with high quality ceramic production and lusterware.

Kashan is also believed to be the place where the Three Wise Men (Balthazar, Melchoir, and Jaspar) originated from and from where they set off on their journey, following the star, to find the baby Jesus.

It is thought that they were Zoroastrian priests, and therefore had knowledge of astrology and ancient texts, and so they knew that this was no ordinary star.  

These tiles were made using a blue and copper reduction luster technique that was developed in the medieval period in Kashan. 

I have used designs taken from pottery found in Kashan and I have included some words written in Persian (Farsi). 

Blue and white geometric pattern

17 x 13 inches

Azulejos are found throughout Portugal on the interior and exterior of churches and are usually painted in blue and white. I remember seeing them on pilgrimages to Fatima, Coimbra and Lisbon and being in complete awe. They often tell the story of the life of a saint, like St Anthony of Padua or they can be a geometric pattern like these.

The images show the original plaster mould and the tile panel before firing, as well as other views of the title panel with white and blue glazes.

I began using a ruler and compass, to mark out the points of a 5-pointed star. Using the principles of Sacred Geometry, I developed the petals in relative and proportional ratios. In the Middle Ages, 5-fold geometry was used to represent the five wounds of Christ. It can also be used to represent the five joys of Mary, as exemplified in the Dominican Rosary.

These are designs taken from the Illuminated manuscripts of the Book of Kells, the Lindisfarne Gospels and the Book of Durrow.

These are painted on vellum (calf skin), using natural handmade dyes (such a woad), 24 carat gold leaf and shell gold.

All are less than 3 x 3 inches

I thoroughly enjoyed this project because it made me take a fresh look at traditional design, decoration and embellishment from the British Isles. I developed an appreciation for the bright, vivid colours and highly ornate designs. For this project, I researched the monastic traditions of the community in Iona founded by St Columba, and the community served by St Aidan on the island of Lindisfarne.

White satin with bobbin lace corner

Corner design 4” x 4”

I made the lace by hand using traditional methods of lace making (using bobbins and a straw filled cushion).

I have chosen to match the lace corner with white satin fabric.

White is a liturgical colour used for vestments and hangings at several times in the liturgical year or to highlight a special occasion. Some of these days include; the Octave of the Immaculate Conception, the Octave of St. John, the Vigil of the Epiphany, the Octave of the Epiphany, the Octave of the Solemnity of St. Joseph, the Vigil of the Ascension, the Octave of the Ascension, the Octave of Corpus Christi, the Octave of the Sacred Heart, the Octave of the Nativity of St. John the Baptist, the Octave of the Assumption, the Octave of All Saints and the Sacrament of Confirmation.

Hand made lace border

2020

4 inches diameter (6 inches including silver frame)

I have placed an icon of Our Lady of Perpetual Help inside the lace border. This is set it within two pieces of glass and a sterling silver frame. This can be either a display tray or a wall hanging.

Communion

Linen (base fabric), stranded cotton with crystal and pearl beads

2019

11 x 8 inches

This type of Whitework Embroidery is called ‘Pulled and Drawn Thread’ because it’s created using stitches that pull threads of the base fabric together or pulled out completely to form a pattern. This is a very effective technique for creating designs for ecclesiastical embroidery, altar cloths, bridal and christening wear.  

The earliest found examples of drawn thread work were in the tomb of St. Cuthbert in the 9th century.

Easter Egg

Broderie Anglaise and Richelieu

Zula (fine linen, base fabric), stranded cotton, silk (pillow fabric) and duck feather pillow pad

2019

12 x 12 inches

Broderie Anglaise (or “English embroidery”) is a whitework technique that incorporates cutwork and needle lace. It became associated with England due to its widespread use in the 19th century. Typical stitches include ‘eyelets’ round or oval holes and ‘cutwork’ areas cut out of the fabric then bound with buttonhole or wrapped bar stitches.

Whitework embroidered linens.

Design area: 3” x 3”

Broderie Anglaise monogrammed letters “C” and “R”. Christus Rex.

Design created by Rachel Doyle, a tutor at the RSN.

Embroidered Icon of St. Philomena

2018

4 x 7 inches

Stranded cotton on silk

Head of St. John the Baptist

2018

Black wax

6 x 9 x 7 inches

A sculpture of St. John the Baptist

Black wax is an ideal sculpting material for casting into Bronze because it has a similar feel and look. It is my intention in the future to cast my sculptures into Bronze.

Memento Mori

Oil on canvas

14 x 10 inches

Work in progress.

Madonna dell'Umiltà Monaco, after Masolino da Panicale (1385)

24 carat gold leaf, egg tempera on gesso board

8 x 10 inches

Masolino da Panicale was a Florentine artist during the Renaissance. He joined the Florentine Guild  Arte dei Medici e Speziali (Doctors and Apothecaries), which included painters as an independent branch. It is said that he may have been the first artist to create oil paintings in the 1420s, before Jan van Eyck in the 1430s.

He was selected by Pope Martin V on the return of the Papacy to Rome in 1420 to paint the altar piece for his family chapel in the Basilica of Santa Maria Maggiore.

The photo shows the completion of the “verdaccio” built up in several layers to create a tonal under painting - a technique that developed from the icon tradition. The subsequent stages will involve applying the colour in oil paint.

Perla di Modena, after Raphael

Work in progress.

2019

Egg tempera and oil on gesso board

10 x 8 inches

The original was painted by Raphael in 1518-1520, and can be found in the Galleria Estense in Modena, Italy.

Here I have shown the stages of the under painting from the verdaccio (‘dirty green’ in Italian) for the first layers. The subsequent stages involve adding whites and a further darkening of the verdaccio. The final stages involve applying the colours. In this piece I have experimented using a mixed technique of working first in egg tempera and then oil.