A publication of seven volumes depicting my personal family story of my mother and her first child, a daughter, who were separated in 1981. Due to the strict societal regime at the time, women who became pregnant outside of marriage were branded ‘fallen women’ and were often incarcerated, in many cases for life, and separated from their children, who would be given up for adoption or sold to families of higher moral standards.
The collection sits on an archive table atop original documentation and baby clothes pertaining to different stages of the story, tracing the birth, separation, the adoption from the point of view of the adoptive mother, the reunion of mother and child 19 years later, the homecoming of the child and photographs of the two together in the present day.
The project was an exercise in curating original documents and archiving them alongside publications, telling the story through old memorabilia and new publication material while trying to capture changes in voice, tone and emotion within the design.
When we reflect on the events of bygone days, it is often difficult to understand how major violations of human rights took place and went unchallenged by bystanders.
Woman’s Sorrow is a trilogy of A1 prints housed behind individual red perspex panels, with a tab to slide the images in and out. The images depict three influential female icons from Christian ideology; Eve, the Madonna and Mary Magdalene.
When viewed through the red perspex, each image shows a serene female figure sculpted from Carrara marble. When removed from the perspex panel however, a colour trick reveals another more sinister, and often truthful, meaning. The piece challenges the perception of the female and the mother, the influence of the bible in informing our treatment of women and acknowledges the pain suffered by women far and wide.
Chosen as part of a 3-person team to collate and design an end of year publication for the graduating class of the University College Dublin Masters Architecture Programme, we were given the theme of ‘Spaces Between’. From there, we set sub-themes (Hot/Cold, Day/Night) and gathered texts and drawings from students. We collated this material into an A1 double sided foldable poster for the Graduation Exhibition 2019.
This is [Not] a Place charts the history of one rural area of Ireland and its loss of culture, heritage, population and language. This single case study represents a microcosmic example of what is happening throughout the country, and the world at large. As we move further towards globalisation and mass-production, peculiarities and tradition fade into our past, giving way to a homogenisation of culture and place, leaving a trace of what once was.
The book was made as a submission to the International Society of Typographic Designers 2019, and was awarded membership by the judging panel.
This identity was designed as a proposal for the Irish American Partnership, based in Boston. The organisation celebrates links between America and Ireland and provides support in the educational sector through funding and research.
While studying abroad, I met a range of interesting and talented people. One of these people, the talented designer Aitor Diéguez Sola, became a close friend of mine, and we bonded over our shared love of analog photography and our posession of the same camera; a Canon AE-1 from 1976. We decided to collaborate and document our experience in a book, the dimensions of a 35mm shot, showcasing our adventures over the course of our stay and marking the time in a designed memoir.
Wisdom of Women is a community-driven toolkit aiming to connect new and older mothers, providing discussion and alleviating loneliness amongst mothers of all ages. The project was designed as a solution to the RSA Student Design awards ‘Alone Together’ brief.
Cipher was designed to explore ‘Everything about One Thing’. Initially, I chose the topic of keys and locks, but while curating research became bored with the content. Instead of choosing another topic, I set myself the challenge of transforming the book into something interesting — something I would like to read. This led to the creation of two books, one outward facing, expressing information about literal keys and locks, and another inward facing, about figurative key and lock mechanisms. This included secret societies, ciphers and codes and hidden organisations. The book is bound in a French Fold technique with cut outs throughout the pages to show through the hidden information behind.