Aoife’s work begins most often with observations of mediated landscapes; thinking about how our view of the world is consistently framed by windows, edges of photographs or scaled down to fit on a screen. This mediation also comes from the hazy edges of a memory of a place. Having been to every place that appears in their work, Aoife’s references are aided by photographs but never reliant on them.

With have an intense, innate sense of pattern and visual balance, Aoife sees connections between almost everything: “Though not religious, I am fascinated by faith and belief in something that interconnects the natural world to us and to the wider universe; patterns and alignments that seem too perfect to be random. As Douglas Adams would define it: ‘The fundamental interconnectedness of all things”

Process is increasingly important to their practice; slowly learning to work with materials rather than fight against them. This includes pouring, dripping, working intuitively with their hands on a canvas large enough for this to be almost gestural – complementing the tight perfection of geometry.

Leaving smudges or fingerprints and crafting their own surfaces means they maintain physical control over, and connection to every step of the process. They remain very aware of this surface and the picture plane: of the illusion of layers created by pushing edges back or pulling others forward. An illusion of depth remains on a flat surface – extending to or conscious of the 3D edges of canvas.

“I like that my work is slightly obnoxious now and demands attention, with elements of both juvenile expression and kitsch, commercial landscape painting. I like being an intersection of high and 'low' art.”