Textures of Life: Studio Notes, News and Reflections

At the Edge of Place: Painting Memory, Weather and Scale in the Canadian Landscape

Fri, 29 May 2026 23:00:00 GMT

How the Rockies, memory and small Sunday paintings became part of a return to making

Some places stay with you differently. Not as a clear image. Not as a view you can describe neatly, but more as an atmosphere, or a feeling that returns later when you least expect it.

You can view the full At the Edge of Place Catalogue , but this article is more about what sat behind the work — the journey, the family connections, and the emotional weather that shaped it.

At the Edge of Place grew out of time spent in Canada, especially Alberta. The paintings are shaped by mountains, snow, water, weather, road journeys, family, grief and light. They are n't travel paintings in the usual sense. I was trying to paint what remained with me.

The work belongs to a wider part of my painting practice , where memory, atmosphere, figure and place often meet through colour, surface and restraint.

I did not go to Alberta intending to paint. I went because I needed distance after a period of loss. My mam had died, and that opened up older griefs too — my dad, my father-in-law, and Sandra, my wife, who died in 2008 and whom I still miss every day.

I was also spending time with my niece Rachel, getting to know her properly. Rachel was grieving the death of her only sister, Stacie, my niece. Some of our conversations in Alberta were about that loss, and about what grief leaves behind in a family.

So the trip was never only about landscape. It was about family.

It was about memory. It was about trying to breathe again.

At first, painting was not the plan. But on Sunday afternoons, Rachel and I began working together on small 5 x 7 inch canvases, just time spent together, making something with our hands. Looking back, I think those small paintings opened a door.

Then there were the trips to the Rockies. The long drives, the mountains, the snow, the lakes, the weather, the scale of it all. I spent a lot of time thinking there — about Sandra, about Stacie, about the people I had lost, and about what grief does to the shape of a life.

The Rockies didn't fix anything. But they gave me space and that's where At the Edge of Place began. I don't think of these works as views. A view suggests distance. It suggests looking at something from the outside. But these paintings came from a more physical and emotional encounter with place. The mountain, the snow, the water and the sky became ways of thinking through awe, vulnerability, stillness and reorientation. What mattered was not simply what I saw, but what the place did to me.

That is where the idea of the sublime becomes useful.

For me, the sublime is not just grandeur or spectacle. It is the mixture of awe, exposure, wonder, fear, stillness and scale that certain places can create. It is the feeling of being in front of something that exceeds you. In these Canadian landscape paintings, scale is not only visual, it's emotional. The mountains are large, but so is the feeling around them.

The numinous and psychological weather

There is also something in this body of work that connects to the numinous and I use that word carefully. I don't mean anything sentimental or decorative. I mean the strange charge a place can carry when it seems to belong both to the outer world and to the inner life at the same time. Some landscapes feel like that. They are real places. You can stand there. You can photograph them. You can name them on a map. But the experience of them is not contained by those facts.

In Canada, the mountains, snow, aurora, glacial water and weather often felt psychologically charged. They were outside me, but they also seemed to meet something inward: grief, longing, memory, reverence, and the need to make sense of what had been lived through. That's what I mean by psychological weather. Not only the weather in the sky. The weather inside the experience.

Presence and absence

One of the things I kept returning to while making this work was the relationship between presence and absence. A place can feel full because of what's there: mountain, water, sky, light, trees, snow. But it can also feel full because of what is missing, or who is missing. Absence is not empty and can have weight. A picnic table, a chair, a road, a sign, a burnt tree, or a small marker of scale can suggest human presence without turning the painting into a story. These traces matter because they place the human body in relation to something much larger, while also pointing to what is withheld or beyond reach.

In Welcome to Alberta , the snow-covered picnic table becomes more than an object in a landscape. It suggests pause, rest, exposure, arrival and absence.
In Sentinel: Elk Island , the burnt tree stands under the aurora almost like a witness-form, a threshold between endurance and vulnerability.

The paintings can also be viewed together in the At the Edge of Place Virtual Gallery , where the larger works, Mountain Notes and smaller studies sit in conversation with each other.

Memory changes colour.

A place remembered later is never exactly the same as the place seen at the time. Certain colours intensify while others fade. A sky becomes more blue than it was. A mountain becomes warmer. A shadow becomes more purple. The painting has to follow that emotional truth unlike a photograph. That is especially true in The Colour of Majesty, where colour carries memory across distance and reflection. The mountains are not only mountains. They are structure, rhythm, warmth, distance and after-image and I wanted to hold that feeling of what remained.

What the landscape gave back

I do not want to make the Rockies sound like a cure. They weren't. Grief doesn't disappear because of mountains, lakes, snow, or beautiful light. But sometimes a place gives you enough distance to breathe differently. Sometimes scale helps you carry what has felt too large inside you. And sometimes painting on a Sunday afternoon with someone you love becomes part of the same journey as standing before mountains and slowly finding your way back to the work.

At the Edge of Place

It is about what happens when place, family, grief and memory meet. When a landscape gives scale to things that are difficult to carry. When small paintings, long drives, difficult conversations and mountains become part of the same movement back toward making.

That is what I keep returning to in my work, whether through figures, landscapes, red skies, textured surfaces or memory-led colour. I am interested in what remains after the moment has passed. What attaches itself to us. What changes shape but does not disappear.

I speak more about the development of this work in the Artist Talk for At the Edge of Place , especially the movement between memory, grief, scale and the Canadian landscape.

The full At the Edge of Place Catalogue brings the paintings, studies and writing together, while the Virtual Gallery gives a sense of how the works sit as a body. I also speak more about the development of the series in the Artist Talk .

Choosing the Right Size Painting: A Practical Guide to Scale and Space

Tue, 26 May 2026 16:38:14 GMT

A practical guide to choosing the right size painting for your home, with advice on wall measurements, sofa proportions, hanging height, textured surfaces and original artwork.

Choosing the right size painting is partly practical and partly instinctive. You can measure the wall, check the furniture, and follow a few useful rules, but scale is also about how a painting feels in a room. A large work can hold a space. A smaller piece can ask you to come closer. A textured surface can carry more weight than its measurements suggest.

I should say from the start that I am not an interior designer. These are not fixed rules. They are simply things I have noticed through making paintings, seeing them in different spaces, and thinking about how scale changes the way a work is felt.

A painting does not end when it leaves the studio. It changes when it enters a home. The light changes it. The wall changes it. The distance from the viewer changes it.

This guide is a practical way to think about scale without losing sight of the feeling that drew you to the work in the first place.

Two different scales create different kinds of presence: a smaller framed work invites close looking, while a larger painting anchors the room.

How do I choose the right size painting for a wall?

Start with the wall, but do not think about the wall on its own. A painting usually works best when it relates to what is around it: a sofa, a sideboard, a bed, a fireplace, a hallway, or the shape of the room itself. The painting should feel connected to the space, not stranded in the middle of it.

A useful starting point is to let the artwork take up around 60% to 75% of the available wall width , especially when it is hanging above furniture. This is often called the 2/3 rule or the 4/7 rule . It is not a strict law, but it helps prevent a common mistake: choosing something too small.

A small painting on a large empty wall can look lost unless it is placed deliberately. A large painting can feel powerful, but it still needs breathing room around it. The aim is not perfection. The aim is balance.

What size painting should go above a sofa?

For artwork above a sofa, the painting should usually be around two-thirds to three-quarters of the sofa’s width .

So, if your sofa is 210cm wide, a painting around 140cm to 160cm wide will often feel balanced. It does not have to be exact, but the artwork should feel visually connected to the sofa beneath it.

The bottom of the painting should usually sit around 15cm to 25cm above the sofa . Too high, and the painting can feel disconnected. Too low, and it may feel cramped.

The same principle works for sideboards, beds, and console tables. Let the furniture support the painting visually. The two should feel as if they belong together.

Should art be centred on the wall or the furniture?

In most cases, centre the painting over the furniture, not the whole wall.

This is especially true if the furniture is not centred in the room. A painting centred on the wall while the sofa sits slightly to one side can make the whole arrangement feel off balance.

Think of the painting and furniture as one composition. The wall is the background, but the relationship between objects is what creates the sense of order.

There are exceptions, of course. Sometimes an off-centre painting can feel more alive, especially in a room that is already asymmetrical. But it should feel intentional, not accidental.

How high should I hang a painting?

A common gallery guide is to hang artwork so that the centre of the painting is around 145cm to 150cm from the floor . This places the work roughly at eye level for most people.

But homes are not galleries, and the height can change depending on the room.

In a hallway, eye level may work well because people are usually standing. In a dining room, bedroom, or reading area, you may want the painting slightly lower because people experience the room while seated.

The important thing is that the painting feels connected to human scale. It should not float too high above the room. A painting that is hung too high can feel strangely distant, even if the size is right.

How do I test the size before buying?

The simplest method is still one of the best: use paper or masking tape. Mark out the exact dimensions of the painting on your wall. Live with that shape for a day or two. Walk past it. Sit with it. Look at it in morning light, afternoon light, and evening light. This helps you understand the physical presence of the work before it arrives.

A digital preview can be useful, but it does not tell the whole story, especially with textured paintings. A painting with raised surfaces, plaster, or thick acrylic behaves differently from a flat image on a screen. It casts small shadows. It catches light. It has a physical depth.

That depth affects scale.

A textured painting may feel larger or heavier than its measurements suggest.

How does texture change the size of a painting?

Texture changes the visual weight of a painting.

A flat, pale image may feel light and quiet, even at a larger size. A darker or heavily textured work may feel more present, even if it is smaller. Raised surfaces catch light and create shadow, which means the painting changes throughout the day.

This is important when looking at textured acrylic paintings or original works with plaster, scraping, and layered surfaces.

The size written on the listing tells you the dimensions, but it does not tell you everything about presence. Surface matters. Colour matters. Darkness matters. The amount of movement in the painting matters.

A painting is not just height by width. It has weight, even before it is framed.

Should I choose a large painting or a smaller one?

A large painting can anchor a room. It can become the main point of focus. It suits spaces where you want the artwork to hold attention: above a sofa, over a bed, in a hallway, or on a large open wall.

A smaller painting does something different. It invites a closer look. It can work beautifully in a study, bedroom, alcove, reading corner, or narrow hallway. Smaller works often feel more private. They ask the viewer to come towards them.

Neither is better. They just create different experiences.

The question is: what do you want the painting to do in the room? Do you want it to hold the space from a distance? Or do you want it to create a quieter moment of attention?

Do figurative and abstract paintings work differently at different sizes?

Yes, they can.

A large abstract painting can feel immersive. It can change the atmosphere of a room through colour, movement, and surface. It often needs space around it so the marks can breathe.

A figurative painting works differently because the human form brings a psychological presence. Even a small figure can hold a room if the image is strong. A larger figure can feel almost like another presence in the space.

In my own work, where the figure often sits between memory, abstraction, and surface, scale changes the emotional tone of the painting. A small figure can feel vulnerable or intimate. A larger figure can feel more confrontational, more present, or more difficult to ignore.

That is why scale is not only a practical decision. It changes the story the painting tells.

Should I include the frame when measuring?

Yes. Always include the frame when measuring.

A floating frame or tray frame can add several centimetres to the overall size of the artwork. That might not matter on a large open wall, but it can make a difference in an alcove, hallway, or above a narrow piece of furniture.

Also consider depth. Some original paintings sit away from the wall because of the stretcher bars or frame. That shadow can add to the object’s presence.

Before buying, check:

canvas size
framed size, if applicable
depth from the wall
available wall width
nearby doors, lamps, shelves, or switches

These small details help avoid surprises.

Can a small painting work on a large wall?

Yes, but it needs intention.

A small painting on a large wall can feel lost if it is treated like a statement piece. But it can work beautifully if it is placed as a quiet point of focus.

For example, a small painting near a chair, lamp, side table, or shelf can create an intimate corner. It becomes something discovered rather than something that dominates the room.

You can also group smaller works together, but they need enough space between them to breathe. A group of paintings should feel like a considered arrangement, not a wall filled because it was empty.

Sometimes quiet placement is stronger than scale.

Choosing a painting that feels right

The measurements matter, but they are not the whole decision. A painting has to feel right. It has to hold your attention. It should be something you want to return to, not just something that fills a gap.

When choosing an original painting, ask yourself:

Does the size feel comfortable in the room?
Does the painting have enough space around it?
Does the surface change in different light?
Does it feel connected to the furniture or architecture?
Do I still want to look at it after the first impression?

That last question matters.

A painting becomes part of daily life. You pass it in different moods. You see it in different light. It should have enough depth to stay with you.

Finding the right scale in my work

Across my available original paintings , scale changes how the work is experienced. Some pieces are made to hold a room. Others are quieter and ask for closer looking. The textured surfaces, layered acrylic, plaster, and partially emerging figures all affect how large or intimate a painting feels once it is placed in a space.

This connects closely to my painting practice , where surface, memory, and the figure often shape one another. A painting may begin in the studio, but it continues its life wherever it is placed.

Choosing the right size painting is not just about filling a wall. It is about finding the point where the work, the room, and your own response meet.

Frequently Asked Questions

Stillness, Spirit & the Small Gesture

Wed, 22 Oct 2025 21:01:11 GMT

Art, Gratitude, and Quiet Devotion

There are moments in art, and in life, that ask for very little but attention. Not grand gestures or dramatic statements, just a pause. A kneeling figure holding the sun for a second before it slips away again. Those quiet in-between moments, where something is felt rather than explained, are often where meaning lives for me.

Holding the Sun, Not Grasping It

One recent painting began with a simple idea: a lone figure kneeling and holding the sun. Not triumphantly, not casually, but in a deliberate, reverent way. As if acknowledging that whatever this sun represents, be it hope, energy, meaning, isn’t something to be possessed, just held for a time.

The background came naturally, stage-like and sparse. Two forms rise behind the figure, possibly hills, possibly spirits. They aren’t explained, and they don’t need to be. I like when images feel more like a small personal myth than an attempt at realism. The stillness is the point.

In some ways, this painting became about how easily we miss the sacred in the everyday. The quiet ritual of rising, of reaching, of pausing. The fact that a simple act, done with care, can be a form of devotion.

Four Small Gestures of Thanks

Another recent piece, this one also made for a space in Crete, was composed of four small paintings. Each one explores a simple act, with simple figures, expressing quiet gratitude.

A figure offers a gesture to the moon, a kind of prayer.
Another holds a fish aloft, a gift from the sea.
A bird rests in the hand, symbolising myth, migration, or seed-carrying wisdom.
And an offering of fruit or harvest, gently held up to the light.

What they share is a kind of spiritual humility. A recognition that life, when it slows, is full of these small moments of awe. That giving and receiving are part of the same rhythm. That a fish, a moon, or a bird can be enough.

Spirituality Without Drama

I’m not religious in any traditional sense, but I do believe in the sacred.

Not in the sense of rules or rituals, but in that sense of inner stillness, of connection. The feeling when a breeze shifts a curtain, or when someone hands you a bowl of food and doesn’t say anything.

Or when the sea touches your ankles and you forget what you were worrying about. That’s the space these works come from.

A kind of everyday spirituality, where painting becomes a way of being present, to remember small joys, and to offer thanks.

The Art of Gratitude

In the world we live in, gratitude can feel like a soft thing, almost naïve. But I think it’s quietly radical. It resists the narrative that more is always better. It says: this is enough. This fish, this fruit, this moment.

Painting these works reminded me that we don’t always need to look for deep symbolism. Sometimes, just offering a shape, a colour, a gesture is enough. Sometimes, the simplest art is the most honest.

Final Thoughts

I hope these pieces feel like a soft space for the viewer, a space to rest and reflect. To remember that beauty often hides in simplicity. That spirituality can arrive without warning. And that gratitude, expressed in gesture or pigment or silence, is a powerful thing.

Thank you for looking.

If you'd like to see what works are available, you can shop here , or join the newsletter for thoughts, updates, and exhibition news.

Thank You to Mountshannon — and a Chance to Take Home 'Trinity'

Mon, 28 Apr 2025 00:39:25 GMT

Hello friends,

It has been a while since I last wrote, and I wanted to reach out with a heartfelt update. Some of you know that I made a promise to my Dad years ago: that someday, I would go back to college and pursue my passion for the arts. I am delighted to share that I am well on my way. Over the past year, my days have been filled with essays, studies, and creative exploration as I work towards my BA in Creative Arts. It has been an intense but wonderful time of growth, reflection, and learning.

Life, as always, brings its challenges too. Throughout this time, my mother’s health has required a lot of care and attention. Balancing academic work, studio time, and family responsibilities has been a journey in itself. There have been moments of exhaustion, but also immense gratitude—for the chance to do what I love, and for the support I have received along the way.

Last August, I was honored to exhibit in the Scariff Library Gallery as part of the Mountshannon Arts Festival. I only spent a few days in Mountshannon, but those few days left a lasting impression. The warmth, kindness, and generosity I experienced from the community touched my heart deeply. I promised myself then that I would find a way to give something back.

Today, I am thrilled to share how.

Win 'Trinity' - Raffle for Mountshannon Arts Festival

I am donating my original painting Trinity to support the Mountshannon Arts Festival. Trinity is a textured abstract piece, created with acrylic and plaster, exploring themes of unity, sacred triads, and presence. Framed in a sleek black wooden float frame and measuring 70 x 50 cm, it is a work close to my heart.
Buy Tickets Here

There is also a wonderful second prize : a luxury break for two on the shores of beautiful Lough Derg — a perfect way to celebrate art, nature, and community, generously donated by Mel from Lakeshore Experiences .

If you feel drawn to support this beautiful cause, I would be so grateful. And who knows — you might soon have Trinity hanging in your home.

Thank you for being here, for reading, for your ongoing encouragement. Every connection, every message, every quiet moment of support means the world to me.

Wishing you creativity, peace, and light.

Warmest regards,

Anthony

P.S. If you’d like to stay connected and be the first to hear about future works, exhibitions, and stories, I warmly invite you to sign up for my newsletter here . It’s always lovely to have you along for the journey.

Finding Inspiration in Leonora

Sat, 07 Dec 2024 13:49:32 GMT

Finding Inspiration in Leonora Carrington: A Reflection on My Art Practice

Leonora Carrington's art and life have fascinated and inspired me for years. I wouldn’t call myself a surrealist artist, but there’s something about the way she weaves deeply personal themes with universal ideas that resonates deeply with my work. Transformation, resilience, and connection—these are central to her narratives, and they’re central to mine too. I think of my piece The Ancestors as a bridge between what I do and the ideas she explored.

I first encountered Carrington’s work at the Celtic Surrealist exhibition at the Irish Museum of Modern Art (IMMA) in Dublin. I felt quite emotional, though I didn’t fully understand why at the time. That experience stayed with me and latergave me the courage to dive deeper into my own journey. Her paintings revealed layers of texture, symbolism, and emotion that really resonated with me. Years later, in 2022, I had the chance to visit the Leonora Carrington Museum in San Luis Potosí, Mexico. That visit was unforgettable—the mix of sunshine, atmosphere, and seing her works in the museum setting gave me an even deeper appreciation of how she blended personal experience with universal meaning.

Carrington’s Influence on My Themes

Carrington’s art is often described as mystical and symbolic, and it’s true. Existing between worlds, her work explores the boundaries between reality and dreams. What I really love is how Carrington has connected the personal with the universal allowing so many connect on an emotional level.

My work isn’t surrealist in style, but it shares a similar desire to explore emotions and symbols. The Ancestors , for instance, looks at generational trauma and collective memory—something deeply tied to Irish identity but also universal in its reach. Like Carrington, I hope my pieces invite viewers to uncover their own interpretations and find their ownconnections.

Parallels in My Art

Take Under a Blood Red Sky. This painting explores migration and transformation, themes that often appeared in Carrington’s work. The abstracted figures and vibrant red tones reflect tension—conflict and hope existing side by side. Are the figures warriors, wanderers, or something in between? That ambiguity feels like a nod to Carrington’s ability to leave questions open-ended, inviting the viewer’s imagination to complete the story. For me, this piece is about courage and the emotional landscapes we navigate when starting over.

Another example is The Last Fisherman . This painting reflects the loss of traditions and the shifts brought by modernity. The Poolbeg Towers in the background tie it to urbanization, symbolizing the move from rural to city life. Carrington often explored these liminal spaces—those moments of change where something is lost, but something new begins. The fisherman, to me, becomes a symbol of resilience and memory, reflecting the universal experience of adapting to a changing world.

The Ancestors: A Dialogue Between Past and Present

In The Ancestors, two faces emerge from a textured surface. At first glance, they feel solid, almost stoic, but as you look closer, hidden features start to appear. For me, this represents the layers of history and memory we carry—the untold stories that live within us.

Carrington’s painting El Mundo Mágico de los Mayas (The Magical World of the Mayas) from 1964, comes to mind when I think about this piece. While her work dives into mystical connections, mine is more grounded, but we share a focus on unseen forces. My figures are fractured yet resilient, reflecting a human vulnerability that also feels universal. Both works invite reflection, encouraging viewers to think about their own connections to the past and the present.

Inspiration Beyond Style

What I admire most about Carrington isn’t just her surrealist aesthetic; it’s her courage. She wasn’t afraid to explore the unconscious, to tell personal stories that touched on universal truths. That fearlessness is something I strive to bring into my own work. It’s not always easy to tap into vulnerability, but it’s where the most honest art comes from.

Pieces like The Ancestors, Under a Blood Red Sky, and The Last Fisherman are my attempts to reflect the fractures and connections in our lives. Like Carrington’s art, I hope they provide a space for reflection—a reminder that even in our struggles, we’re all connected by shared experiences.

A Continuing Dialogue

Carrington’s work reminds me that art can be both deeply personal and profoundly universal. Her ability to transform her experiences into something that speaks to others inspires me to keep pushing in my own practice. While our styles are different, her journey—a life of courage, exploration, and connection—feels like a guiding light for my own path.

If you’re curious, I invite you to explore my portfolio . Pieces like The Ancestors, Under a Blood Red Sky, and The Last Fisherman are part of this ongoing dialogue with the past, the present, and the inspirations that shape us.

Check out ' The Collective Unconsciou s'

Image Reference:

https://www.historiasdearte.com/19-la-sorprendente-leonora-carrington-y-su-mundo-surrealista/

BETWEEN THE SHORES: A CELEBRATION OF ART AND CONNECTION

Tue, 26 Nov 2024 20:11:43 GMT

Experience Between the Shores, a collaborative exhibition by Anthony Carey and Sean Carver. Explore themes of belonging, memory, and transformation through vibrant color and texture.

Opening Thursday, 28th November, 6 PM at Red’s Gallery, Dublin.

between the shores

This Thursday, the 28th of November, at 6 PM, Red’s Gallery in Dublin will open its doors to an extraordinary exhibition, Between the Shores. This collaborative showcase brings together the powerful works of myself, Anthony Carey, and the incredibly talented Sean Carver, offering a unique exploration of human experience through color, texture, and storytelling.

A Meeting of Perspectives

Sean Carver and I approach art from different yet complementary perspectives. Sean’s work delves deeply into the psyche, exploring emotional memory, isolation, and the yearning for light and healing. His process is a journey of discovery, with each piece evolving through layered textures, marks, and found objects that reveal a dreamlike, contemplative world. His paintings invite viewers to reflect on their inner landscapes and the delicate balance between trauma and hope.

In contrast, my work focuses on themes of belonging, transformation, and shared human experiences. Using plaster, silicone, and acrylics, I create textured, abstract figurative works that reflect the emotional depth of human connection and resilience. From bold red skies symbolizing passion and change to fractured figures that speak to strength in vulnerability, my pieces aim to resonate with universal stories.

What to Expect at the Exhibition

Alongside larger works, the exhibition will feature a range of smaller framed works on paper and smaller works on canvas. These pieces, offered at affordable prices, make art an accessible and meaningful gift for any occasion. Whether you're looking to add a unique piece to your collection or give the gift of art to someone special, there’s something for everyone to enjoy.

Between the Shores is more than an art exhibition—it’s an invitation to connect, reflect, and experience the beauty of two artistic journeys converging. Each painting in the show, whether Sean’s or mine, tells its own story while contributing to a larger narrative of transformation and human connection.

Highlights of the exhibition include:

Sean’s hauntingly beautiful compositions , which combine gestural marks with rich textures and poetic references, creating a dreamlike theatre of emotions and memory.
My textured, abstract figurative works , which explore the themes of belonging, the collective unconscious, and the search for connection amidst change and adversity.
A curated selection of pieces that harmonize our individual styles while showcasing the depth of our individual voices.

Join Us

We warmly invite you to join us at Red’s Gallery for the opening night of Between the Shores. Whether you’re an art lover, collector, or simply curious, this is an evening to immerse yourself in art that speaks to the soul. Connect with us, explore the stories within each piece, and experience the powerful interplay of texture, color, and meaning.

When: Thursday, 28th November, 6 PM
Where: Red’s Gallery, Dawson Street, Dublin

We can’t wait to share this special evening with you and see how the works resonate with your own stories and reflections. Let’s celebrate art together—see you there!

About the Artists:

Anthony Carey : My work explores themes of belonging, isolation, and the collective unconscious, with textured abstract figures that reflect shared human experiences.
Sean Carver : Sean’s paintings focus on the psyche, emotional memory, and isolation, combining gestural marks, layered textures, and found objects to create deeply contemplative works.

Browse Available works

AN INVITATION

Sun, 24 Nov 2024 19:10:06 GMT

BETWEEN THE SHORES

An exhibition by Anthony Carey and Sean Carver.

Artists Anthony Carey and Sean Carver have come together for a joint exhibition which navigates the emotional landscapes of memory, identity and reflective and emotive experience. Together, the exhibition offers a powerful exploration of the human condition – through two distinct but complementary visions.

Over the last number of years, Dublin based artist Anthony Carey has been exploring themes of belonging, loss and human connection, drawing from personal and collective experience. He creates richly textured surfaces that reflect the complexity of the human condition, his paintings invite viewers to reflect on their emotional journeys.

Also based in Dublin, Sean Carver’s work focuses on the mind/psyche, traumatic, emotional experiences and or/or isolation. He works with a variety of techniques and media and the works evolve over time, becoming an exploration of contemplative observation.

Title: Between The Shores

Opening: 28th of November at 6pm
Exhibition: 29th of November - 4th of December

Were: Reds Gallery, 21 Dawson Street, Dublin Ireland.

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The Collective Unconscious

Fri, 18 Oct 2024 01:33:52 GMT

CARL JUNG'S INFLUENCE ON MY ART

Carl Jung’s concept of the collective unconscious has profoundly influenced my art. As an abstract artist, I find Jung’s archetypes—like the Wanderer, the Shadow, and the Self—deeply resonate with my themes of belonging and identity. My fractured figures reflect these universal symbols, reminding us of our shared human experience.

In this post, I’ll explore how I discovered Jung’s theories and their transformative impact on my creative process. My introduction to Carl Jung's work began during a time of deep self-reflection. I was drawn to his writings on the collective unconscious while searching for meaning in personal and shared experiences of grief and displacement. The idea that we are all connected by universal symbols and archetypes resonated deeply.

As I read more about Jung, I began to see parallels between his archetypes and the themes I explore in my art. The Wanderer, with its endless search for belonging, mirrored my feelings of displacement and the stories I wanted to tell on the canvas. The Shadow—representing the parts of ourselves we often hide—aligned with my use of fractured figures to symbolize both struggle and resilience. These discoveries became a turning point, allowing me to channel these universal ideas into textures, colors, and forms that speak to the silent connections between us.

Jung's concept of individuation—the journey toward wholeness—also inspired me to embrace the rawness and imperfection of my process. Each painting became an exploration of both my inner world and the shared narratives that bind us.

How do Jungian archetypes resonate with your understanding of art and life?

Explore these archetypes in selected works my Portfolio page.
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Read more on my influences - Leonora Carrington

LATEST ART EXHIBITION

Tue, 01 Oct 2024 19:10:06 GMT

Between the Shores: A Joint Art Exhibition

I’m delighted to share that I’ll be exhibiting alongside contemporary Irish artist Sean Carver in Between the Shores, a collaborative showcase exploring themes of belonging, memory, and transformation. The exhibition features works from my Red Sky and White Noise series, alongside Sean’s deeply evocative pieces.

Additionally, I’ll have a selection of smaller framed works on paper available—perfect as unique, meaningful gifts.

Don’t miss this opportunity to explore a diverse range of artwork. I look forward to seeing you there!

Lastly, if you think a friend or family member would enjoy this update, feel free to share it. Your continued support means the world to me.

With heartfelt thanks,
Anthony

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How to Find Red’s Gallery

Red’s Gallery is located upstairs at 21 Dawson Street, Dublin 2.

By Foot or Taxi:

Look for the number 21 on Dawson Street. It’s near the top of the street, not far from St. Stephen's Green .
The entrance is marked, and the gallery is upstairs , so head inside and take the stairs.

By Public Transport:

If you're taking the Luas Green Line , get off at St. Stephen's Green Stop . Dawson Street is just a short walk away.
Several Dublin Bus routes also stop on Dawson Street or nearby.

Virtual Exhibition

Sun, 08 Sep 2024 18:38:47 GMT

The Virtual exhibition is now live

In his exploration of Ireland's past traumas and the concept of the collective unconscious, Carey delves into personal themes, especially as his daughter prepared to leave the country. This introspective journey led to an awareness that feelings of loss and loneliness are universal.

Isolation is a prominent theme in Carey's current work. His figures, crafted with the broken, rough textures of plaster, symbolize the universal fractures we all experience at various points in our lives. They embody the yearning to feel whole and to belong, reminiscent of the time before grief touched our lives.

Carey's abstract works emerge from an intuitive and physical process. The vigorous application of paint, the building of textures, and the intense interaction with the canvas result in works that, despite their tumultuous creation, exude a profound sense of calm.

We invite you to experience this enriching journey both in person and online, celebrating the artistry and profound messages conveyed through these exceptional works.

Physical Exhibition Dates: July 30th - August 28th
Location: Scariff Library Gallery, Mountshannon Road, Ballyminoge, Scarriff, Co. Clare, V94 NY3

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A HEARTFELT THANK YOU

Wed, 04 Sep 2024 18:38:47 GMT

A HEARTFELT THANK YOU, AND WHAT’S NEXT ON MY JOURNEY

Hello, dear friends and art lovers!

As the curtain closes on my recent exhibition at the Scariff Library Gallery, I want to take a moment to express my deepest gratitude to everyone who visited, both in person and virtually. The experience has been nothing short of magical, and I’m thrilled that my work resonated with so many of you. The physical exhibition may have come to an end, but I’m excited to share that the virtual gallery will remain live until the end of October. If you haven’t had a chance to explore it yet, I invite you to take a stroll through the virtual space and immerse yourself in the art from the comfort of your home.
Visit Virtual Exhibition Now

As this chapter wraps up, I find myself reflecting on the journey that brought me here. Many years ago, I made a promise to my Dad—a promise to pursue my passion for the arts and to return to college to earn a degree in creative arts. It’s a promise that I hold close to my heart, and I’m proud to say that I’m well on my way to fulfilling it. My days are now filled with the fascinating study of the psychology and philosophy that underpins my work, as I work towards my BA in Creative Arts.

This period of study has been both challenging and enlightening. It’s given me a deeper understanding of the concepts that inspire my art, and I’m eager to bring this newfound knowledge into the studio as I continue painting. The creative process is an ongoing journey, one that requires patience, dedication, and a willingness to explore uncharted territories. I’m excited to see where this journey will take me next and to share that adventure with you.

As I dive back into research and studio work, I want to thank you all for your continued support. Whether you’ve been following my work for years or you’re new to my art, your presence means the world to me. I’m excited for what the future holds, and I hope you’ll stay tuned as I continue to explore, create, and share.

Until next time, take care and keep the creative spirit alive.

Warmest regards

Anthony

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Browse Original Paintings

NEW SOLO EXHIBITION

Wed, 10 Apr 2024 18:38:47 GMT

Find out more about Careys art practice

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NEW SOLO EXHIBITION AT Scariff Library Gallery

We are thrilled to announce the opening of a new solo exhibition by acclaimed artist Anthony Carey, titled "Belonging: A Quest For Home."
This thought-provoking exhibition will be held at the Scariff Library Gallery in Mountshannon, Co. Clare, Ireland, from July 30th to August 28th.

Join us for an evening of art and conversation at the opening reception on Thursday, July 1st.

"Belonging: A Quest For Home" delves into the profound complexities of human migration, belonging, isolation, and the universal yearning for a different existence. Through his research into the collective unconscious, Carey presents a poignant exploration of the experiences of those who have departed and those who remain behind. His paintings serve as visual narratives, capturing the essence of displacement and the persistent longing for connection to another time and place.

Carey's canvases are imbued with a sense of both nostalgia and hope, inviting viewers to reflect on their own emotive journeys and the universal human experience of seeking belonging. Each brushstroke conveys a story of resilience, adaptation, and the enduring quest for identity amidst the flux of life's transitions. "Belonging" serves as a testament to the enduring power of the human spirit and the transformative potential of embracing our collective unconscious.

Don't miss this opportunity to experience Carey's powerful and evocative work. We look forward to seeing you at the Scariff Library Gallery!

Details

Exhibition Dates: July 30th - August 28th
Location: Scariff Library Gallery, Mountshannon Road, Ballyminoge, Scarriff, Co. Clare, V94 NY3

ART AT THE MILL

Fri, 25 Aug 2023 18:11:14 GMT

Art exhibition THE BERKELEY GALLERY, KILKENNY

I am delighted to participate in Art at the Mill at the Berkeley Gallery in Thomastown, Co. Kilkenny, Ireland. Featuring over 100 talented artists, the exhibition runs from May 31st to August 20th.

The gallery, housed in a beautifully restored flour mill, provides a stunning setting for this celebration of Irish visual arts. Organized by AKA (Alternative Kilkenny Arts) as part of the Annual Kilkenny Arts Festival, the exhibition brings together artists and the community in a vibrant showcase of creativity. Visitors will be immersed in a diverse array of paintings and sculptures, each telling its own story.

The work I am presenting, Alchemy, draws inspiration from Carl Jung’s notion of the shadow and individuation, exploring themes of the personal unconscious through rich textures and evocative imagery. As always, I’ve brought along Maggie the Mule, my trusty good luck charm, to accompany me and share in this artistic journey.

SUMMER OF LOVE

Mon, 24 Jul 2023 18:11:12 GMT

A short video of 'Summer of Love' exhibition at Courthouse Gallery, Ennistymon, Co. Clare, Ireland

ART EXHIBITION

I am thrilled to have two works featured in the Summer of Love exhibition at the Courthouse Gallery in Ennistymon, Co. Clare, Ireland. My pieces, Debajo Del Mar and Dawn Passages, are part of the White Noise series and showcase richly textured layers that reflect themes of depth and transformation.

The Courthouse Gallery is a stunning venue to exhibit in, providing an inspiring backdrop for this celebration of diverse visual arts from across Ireland. Hosting 96 artists and 119 works, the exhibition runs from May 26th to July 22nd.

Themed "Summer of Love," the exhibition seeks to counteract the world's turmoil by fostering connection, joy, and peace. Visitors are invited to immerse themselves in artworks that celebrate love, happiness, and the beauty of shared moments.

OUTSIDE THE BOX

Thu, 25 May 2023 14:35:13 GMT

OUTSIDE THE BOX - LIVE ART AUCTION

AUCTION COMPLETE

SCOOP’s latest art-driven fundraiser which will feature a live art auction in person and online, featuring artworks from Ireland’s top street and contemporary artists.

What
Outside the Box Art Auction, presenting 120 uniquely crafted artworks, including South of 6th , a work created with copper rods to achieve its striking texture and depth. The piece’s layered composition results from thousands of individual marks made with these rods, adding a tactile and visual richness. This work was inspired by my first taste of Pizza in 2015 (I know) at a Roppolos Pizza truck in Austin, Texas.

When
Tuesday 28th of March 2023.

Where
The Tony Ryan Gallery in The RHA Dublin 2,
15 Ely Pl, Dublin, D02 A213, Ireland

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URGENT: GALLERY/STUDIO CLOSING

Thu, 20 Apr 2023 18:11:16 GMT

The icon factory set to close

I am deeply saddened to announce that The Icon Factory is facing closure soon, and there are no signs of finding a new home in Temple Bar to continue and expand the incredible Icon Walk project. Unfortunately, this is just another heartbreaking addition to the long list of artist studios and galleries that have been forced to close.

Who are they?

In 2010, Dublin witnessed a truly remarkable transformation. Thanks to the intervention of the talented artists from The Icon Factory, the once-neglected laneways in Temple Bar, which were once plagued by filth, discarded needles, and an overwhelming sense of neglect, were completely revitalized.

These visionary artists, fueled by their passion and some private funding, turned this filth into captivating and informative works of art, showcasing the beauty and creativity of our beloved city.

These amazing artists, who are all volunteers, fearlessly reclaimed the once-abandoned and forgotten laneways, making them accessible and enjoyable for both locals and tourists alike. Through their creation of the Icon Walk, they paid tribute to the Icons of Irish literature, music, acting, and sport.

Thanks to the artists' magical touch, these laneways have been infused with a newfound sense of warmth, affection, and care, breathing new life into them like never before. The Icon Walk has become a beloved attraction, cherished by both locals and tourists. It is still lovingly maintained by the dedicated artists from The Icon Factory . Notably, this project has been endorsed by UNESCO and comes highly recommended by the ever-increasing number of daily walking tours, as well as renowned travel guides like Lonely Planet and Trip Advisor.

What Can We Do?

Although there may be a general sense of apathy when it comes to protests, there is something you can do from the comfort of your own home. Whether you are a Dubliner, a visitor, or a tourist, you have the power to make a difference. We urge you to raise your voice and contact Irish politicians, Dublin City Council, and the Dublin City Arts Office. Let them know that the city of Dublin must step in and provide assistance in finding a new home for the Icon Factory. Together, we can help preserve this invaluable cultural gem for future generations to enjoy.

As a Dubliner I am tired of the continued loss of culture in my home.

Thank you for your support,

Anthony

ART FOR GAZA - AUCTION RESULTS

Fri, 31 Mar 2023 18:11:23 GMT

ART FOR GAZA raised €168,620

The Art for Gaza Exhibition at The Copperhouse gallery was an overwhelming success, drawing a packed crowd for its opening night. The highlight of the evening was the powerful and impassioned speech delivered by First Lady Sabina Higgins, resonating deeply with the audience and setting the tone for the event.

As the auction progressed, bidding remained steady, with a surge of excitement in the closing hours as attendees vied for their favorite pieces. The culmination was nothing short of spectacular, with a total of €168,620 raised—an incredible result reflective of the generosity and solidarity shown by all those involved.

It's was an honor to have been part of such a meaningful event, alongside a plethora of talented Irish artists coming together to support a worthy cause. Here's to the transformative power of art and the impact it can have in making a difference. Thank you to all who followed the journey, and a big thank you to those who bid on my piece and I’m delighted this work has found its home. ��

If you purchased a work get in contact with the artist.

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ART FOR GAZA AUCTION

Thu, 23 Feb 2023 18:11:21 GMT

LOT 66 - Anthony Carey

https://bid.whytes.ie/lots/view/1-8PUZCI/anthony-carey

Blue River Under a Red Sky

The dramatic contrast between the fiery sky and dark blue and white below creates a striking visual impact, symbolizing the juxtaposition of hope and hardship, light and darkness. Inspired by the concept of the collective unconscious, this artwork delves into the enduring legacy of generational trauma – from forced migration to famine, war, and homelessness – all of which leave their indelible mark on the human experience. Yet, amidst the turmoil, there's a glimmer of hope. In some cultures, the red sky is seen as a promise of a new and better day, a beacon of light guiding us towards a brighter future.

Update: I'm delighted to say this work raised €1,000 in the Art for Gaza Auction

UNVEILING BLUE RIVER UNDER RED SKY

Dear art enthusiasts and supporters,

I am thrilled to share with you a new addition to my body of work — Blue River Under Red Sky. I am honored to announce that this artwork will be featured in the upcoming Art for Gaza Auction at the end of this month.

Blue River Under Red Sky is a testament to the power of art to convey emotions and tell stories that transcend borders. As an artist, I believe in the ability of creative expression to bring people together and ignite meaningful conversations.

We have an opportunity to leverage the transformative power of art for a humanitarian cause. The auction serves as a platform to raise awareness and support for the people in Gaza, who continue to face challenges that demand our collective attention and assistance.

I invite you to join me on this journey by participating in the Art for Gaza Auction. Your involvement not only adds value to the world of art but also contributes to the well-being of those who need it most. Together, we can make a difference through the universal language of creativity.

AUCTION DETAILS

�� Location: The Copper House Gallery, Portobello, D8. D08 EE73

�� Date and Time: Thursday, 29th February, 6 o'clock

�� Hosted by: Ian Whyte (both online and in person)

�� Opening by: First Lady Sabina Higgins, wife of the Irish President Michael D. Higgins

*Funds to Medecins Sans Frontieres & Norwegian Refugee Council in Gaza

Stay tuned for more details on the auction, and thank you for being a part of this meaningful endeavor.

Warm regards,

Anthony Carey

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COFFEE PROJECT, London

Wed, 28 Dec 2022 14:35:16 GMT

Coffee Project at tebbs gallery, london

A really fun exhibit to be a part of. This exhibition is being held in Tebbs Gallery, Mayfair, London, UK during April 2023. Artists from across the globe were invited to create coffee inspired artworks on paper and mugs. Some really cool artworks.

"You know that initial Monday morning feeling as the you start the week. That initial sense of chaos - until you have that first cup of coffee and the brain kicks into gear. This piece was driven by the rich earthy tones of the coffee on paper, with textured layers introduced to provide a feeling of organic depth while the darker tones are created by scorching the coffee with a chefs torch. " - Anthony Carey

Abstract painting on paper created with coffee and acrylic, featuring rich earthy tones and textured layers, evoking warmth and organic depth.

Monday Morning is painted using coffee, gesso and acrylic on paper. (38 x 28cm)

To buy this work visit https://www.tebbsgallery.com/product-page/monday-morning-by-anthony-carey

Exhibition in Portland, Oregon

Wed, 26 Oct 2022 14:02:47 GMT

10TH ANNUAL ABSTRACT SANCTUARY

The selected work for this exhibition, Dawn Passages, is part of my White Noise series of abstract textured pieces. It is an honor to participate in the 10th Annual Abstract Sanctuary at Verum Ultimum Gallery in Portland, Oregon.

This milestone edition features 51 distinctive works by 51 artists, each offering a unique perspective within the world of abstraction. The exhibition unfolds with the natural rhythm of the seasons, drawing its energy from the gravitational pull of the sun and moon.

The layered textures create a foundation that propels the eye forward, while an array of colors and diverse forms set the stage for exploring mood, atmosphere, and boundless horizons.

As the gallery promises, this visual symphony of voices offers "something for everyone," weaving together a dynamic and poetic experience that is both harmonious and dramatic. I am thrilled to have my work as part of this collective celebration of abstract art.

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Surface/Inner Weather

Wed, 06 Apr 2022 13:07:22 GMT

A JOURNEY THROUGH GRIEF, ABSTRACT ART, AND THE PERSONAL UNCONSCIOUS

Grief is a landscape that defies maps. When I began to process my own losses, I found myself searching for meaning in the fragments left behind. It was during a college research project that I first encountered Carl Jung’s theories. His ideas about the unconscious and archetypes felt like a hand reaching across the void—offering a way to translate my personal pain into something universal.

Jung’s connection to artists, particularly abstract expressionists like Jackson Pollock, intrigued me. Pollock’s intuitive, physical approach to painting echoed Jung’s belief in tapping into the subconscious to uncover deeper truths. Inspired, I began exploring my own artistic process, finding that abstract art allowed me to express what words couldn’t.

The Birth of My Abstract Practice

I started creating textured abstract work, experimenting with mediums to add depth and complexity. My method was as much about destruction as creation. Using copper rods, I struck the canvas repeatedly, letting the force of the strokes both apply and remove paint. The result was a frenetic energy captured in layers—lines, marks, and textures that reflected the chaos of my emotions.

This process was entirely intuitive, guided by a stream of images flashing through my mind. These were not clear pictures but impressions, blurred moments from my life distilled into fragments of color. Memories of happiness would surface as I worked—bright, vivid hues that seemed to vibrate with their own energy. It was cathartic, a way of channeling overwhelming emotions into something tangible.

The rhythm of the process—the repetitive beating, the layering of paint, and the removal of it—became almost meditative. It created a kind of “white noise,” a space where the outside world fell away, leaving only the canvas and my internal landscape. This frenetic energy, paradoxically, brought me peace.

The Memory of Color

As I delved deeper into Jung’s theories, I began to see connections between my work and his ideas about the unconscious mind. Jung spoke of archetypes—universal symbols that reside in the collective unconscious, shaping our thoughts, dreams, and creativity. For me, color became an archetype of memory.

The bright yellows, rich reds, and deep blues in my work were not just pigments—they were portals to moments I had lived, feelings I had carried, and people I had loved. These colors held an emotional resonance that went beyond representation. They became a language, a way of capturing the intangible.

From Frenzy to White Noise

In the early stages of this practice, my work was frenetic, bursting with raw energy. But as I continued, I noticed a shift. The chaos began to find form. The marks and textures started to communicate with each other, creating a sense of harmony amidst the disorder. What began as a stream of unfiltered emotion became something calmer, more reflective.

This evolution reminded me of Jung’s concept of individuation—the process of integrating the conscious and unconscious parts of ourselves to achieve wholeness. My art mirrored this journey. What started as a chaotic expression of grief transformed into a space for reflection and connection. The white noise of my early works was no longer just a means of escape; it became a place where meaning could emerge.

Abstract Art as a Bridge

Jung believed that art could act as a bridge between the personal and the universal, and this has been true in my own journey. Abstract art allowed me to connect with my memories, but it also created a dialogue with others. Viewers often tell me how my work resonates with their own experiences of loss, resilience, and belonging. This shared connection is the most rewarding part of what I do.

Continuing the Conversation

Carl Jung’s theories continue to influence my art, shaping how I approach texture, color, and form. His belief in the power of the unconscious mind has given me a framework to explore my own experiences while connecting with others on a deeper level.

If you’d like to see how these ideas manifest in my work, visit my Portfolio page.

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Read more on my influences - Leonora Carrington