Francois Got Buffed on Beautiful Street Art, Colour & Place
Street art becomes a way of reading the city differently, where bold colour, sharp humour and careful placement turn ordinary walls into public acts of attention.
Joshua Burnside – Inside It’s Not Going to Be Okay
From the layered textures of Teeth of Time to a more exposed and intimate sound in It’s Not Going to be Okay, Burnside enters a new phase of his work
Kerrie Hanna – Carrying the Land Through Authentic Material and Light
Ancient pigment and endangered craft meet feminist reclamation and community authorship in a practice rooted in land and light
Frances Magee – Preserving Ireland’s Natural World in Cyanotype Magic
In her North Belfast garden, Frances Magee transforms carefully tended plants into luminous cyanotypes – where texture, imperfection and light combine in work that feels timeless.
From Donegal to Belfast – Katriona Sweeney’s Authentic Irish Design
Where Irish memory, bold typography, and hand-painted craft converge – from Donegal buses and rush crosses to Belfast walls and wearable design.
Fight Like a Girl: Ana Fish on Safer Spaces & Murals
Tracing a life shaped by movement, myth, and community – using street art to reclaim space, tell shared stories, and make the everyday world feel safer, softer, and more alive.
Finding Magic Stillness in the City: Joel Simon’s Paintings
Scenes observed slowly and held with care, where light, posture, and silence allow the ordinary street to become a quiet stage for feeling
Faith and Colour: The Genuine Art of Beverley Healy
In her imaginative work, paint becomes prayer – a meditation on trust, surrender, and creation, where colour and stillness meet to form something transcendent.
Corrina Askin on Illustration, Imagination, and Irish Myth
A Dreamer’s Practice: Corrina Askin on Storytelling, Sketchbooks, Forest Walks, Forgotten Words, and the Spirit of Place
James Hughes: The Genuine Art of the Unseen Image
On Myth, Memory, and the Uncommercial Eye: Photographer James Hughes on Forty Years of Image-Making Across Time, Place, and Protest