1SW 8. You alone can hear the invisible star fall
Shelagh Wilson
You alone can hear the invisible star fall
Acrylic, watercolour & oil pastel
24 x 26cm
£650 framed
1SW 7. Suddenly within the everyday, blazing abundance
Shelagh Wilson
Suddenly within the everyday, blazing abundance
Acrylic, watercolour & oil pastel
27 x 27cm
£650 framed
1SW 6. A world in little; tremulous blue
Shelagh Wilson
A world in little; tremulous blue
Acrylic, watercolour & oil pastel
26 x 29cm
£650 framed
1SW 5. In the pink edge of an evening star
Shelagh Wilson
In the pink edge of an evening star
Acrylic, watercolour & oil pastel
25 x 27cm
£650 framed
Sold
1SW 4. Mimosa moon-dip
Shelagh Wilson
Mimosa moon-dip
Acrylic, watercolour & oil pastel
26 x 26cm
£650 framed
1SW 3. It is sea soughing, star fall, the sleep of birds
Shelagh Wilson
It is sea soughing, star fall, the sleep of birds
acrylic, watercolour & oil pastel
27 x 26cm
£650 framed
Sold
1SW 2. A small space in the wide universe, which was wonderful
Shelagh Wilson
A small space in the wide universe, which was wonderful
Acrylic, watercolour & oil pastel
28 x 30cm
£650 framed
Sold
1SW 1. A tale of small things happening beautifully
Shelagh Wilson
A tale of small things happening beautifully
Acrylic, watercolour & oil pastel
28 x 29cm
£650 framed
Sold
SW IMG_2872 On such an evening, pinkly marigold
Shelagh Wilson
On such an evening, pinkly marigold
Mixed media - pencil, charcoal, watercolour & oil pastel
36 x 50cm
£850 framed
SW IMG_2429 The gentle ceremony of newly-forged day
Shelagh Wilson
The gentle ceremony of newly-forged day
Mixed media - pencil, charcoal, watercolour & oil pastel
38 x 52cm
£850 framed
SW IMG_3153 In which May stories flourish
Shelagh Wilson
In which May stories flourish
Mixed media - pencil, charcoal, watercolour & oil pastel
39 x 42cm
£800 framed
Shelagh completed an MA in Renaissance Literature and Culture in 2006. She taught English up until 2013 and now concentrates on her art.
‘My paintings and drawings are primarily an emotional response to a subject rather than what I see. When I paint, I become absorbed in memories, colours and favourite motifs such as birds, chairs, lamps, ceramics, flowers, hares, the moon, snow and rain – all things deep in my sub-conscious, sown in my Irish childhood. These are frequently otherworldly, as I feel enveloped in another world when I work, just as I do when I read poetry and novels. Favourite writers include Seamus Heaney, Michael Longley, Mary Oliver, Thomas Hardy, George Eliot, Gaston Bachelard and Niall Williams. More recently books that evoke the poetry of landscape – Robert Macfarlane.
These paintings emerged as I worked in sketchbooks over the summer, trying to get to the heart of what interested me and to access that inner place where the dreams are. I wrote and painted and made little books, immersing myself in the processes without looking for specific outcomes. The contrasts between prevailing deep, dark colours overlaid with little blazes of colour was something I was keen to develop – probably as a result of looking at 16th century paintings in The National Gallery in London. The pages of the books I made represented small, sequestered, private universes where the mood was saturated with peace and transcendence – ordinary places affording extraordinary moments. These sketchbook and handmade book explorations then lead to the making of these paintings.’