Memory, Myth and the Emotional Archaeology of Place
‘I Know Where Shergar is Buried’ Mixed-media painting on canvas 2025
My most recent series of paintings explores layered ideas of identity, belonging, memory and inheritance through the lens of place — specifically the East Anglian and Essex landscapes where I grew up entwined with the threads of my Irish heritage. The work represents a kind of internal map, connecting the Irish blood that runs through my family stories with the English soil that has shaped my daily experience.
The emotional and conceptual core of the series is Seamus Heaney’s poem Digging, which has both haunted and inspired my creative process over many years. Like Heaney, I’m ‘digging’— in my case with brush, spray paint, charcoal, collage and symbol — into the ground of memory, myth, and meaning. These paintings are acts of excavation, uncovering both literal and metaphorical treasures: family folklore, working-class histories, personal and cultural artefacts and emotional truths buried beneath the surface.
One of the central works in the exhibition is ‘I Know Where Shergar Is Buried’, a nod to one of my dad’s tall tales about claiming to know where the IRA had hidden the champion racehorse. His stories were often fantastical and vivid and always came with the unanswered question, “Does he actually believe what he's saying?”. They form a key part of my personal mythology. This piece is at once an homage to his style of storytelling and a deeper meditation on the concept of buried truth. Where is the line between what is real and what is imagined and does that blurring of reality tell us more about ourselves than the “facts” ever could?
Further inspiration for my artwork comes from glittering archaeological treasures and the stories behind their discovery. A key influence is the Cheapside Hoard, a cache of Elizabethan and Jacobean jewellery unearthed by labourers in 1912 beneath a London street. I’m also drawn to extraordinary finds from East Anglia, including the Snettisham, Hoxne and Sutton Hoo hoards.
A personal favourite is the Mildenhall Treasure—a stunning Roman silver hoard found in 1946 in Suffolk. Beyond its artistic elegance, I love the story of its accidental discovery and the fact that its grand silverware was then put to everyday use - Sunday roasts served on the Great Dish - before its true value was realised. These forgotten treasures and their strange, human stories continue to feed the visual and narrative layers of my work.
The mystery of who buried it and why it was never reclaimed, speaks to the same tension I explore: the collision of ordinary working life with hidden opulence, of the everyday with the extraordinary of tall tales which just might have a basis in truth. I like to imagine a figure like my dad, a navvy in the 1960s, stumbling across such a treasure. There’s poetry in that. In the idea that hardworking hands can uncover stunning treasure.
This duality (low brow/high brow - culture clash) is echoed in the materials and techniques I use. The paintings are built in layers. The first marks are often drawings or collaged photographs of local landmarks from my hometown, fragments of architecture, medieval tiles, pop culture and half-forgotten places. Some of these are still visible, peeking through the surface like time capsules; others are obscured, buried beneath additional layers of spray paint, acrylic ink, and drawing. The result is a kind of visual archaeology — an intuitive, tactile process of covering and revealing that mimics the act of remembering.
I see these paintings as part folklore, part archive, part alternative universe — intimate dreamscapes where different times and influences collide. Small scraps of text, found paper and symbols are scattered across the compositions like clues, reflecting my impulse to collect, to arrange, to make sense of chaos. Each painting is a kind of paracosm: a personal world that creates order and meaning out of fragments.
Recurring symbolic elements — like peacocks, totem animals and mascots — act as emotional, superstitious signposts throughout the series. They’re echoes of the childhood belief that animals are lucky or magical and they speak to the imaginative ways we try to protect and understand ourselves.
This body of work is both a personal tribute and a wider reflection on place, memory and the stories we inherit. It celebrates the peculiar, the local, the poignantly strange beauty of home and the lingering possibility that my dad really did know where Shergar was buried.
I Still Hear Their Footsteps…
‘I Still Hear Their Footsteps’ series, reimagined Essex dreamscapes exploring history and folklore.
‘There Be Giants’ Art Exhibition. The Old Sun Inn, Saffron Walden, Essex.
In April 2024, the historic Old Sun Inn in Saffron Walden became the atmospheric venue for the art exhibition ‘There Be Giants’, curated by the artist Jessica Pearce. This immersive art installation infused myth and magic into one of Uttlesford’s most cherished buildings, creating a powerful dialogue between history and contemporary art.
My contribution to this group exhibition was a series of twelve paintings (15 x 40 cm). Rooted in the bizarre stories and history of my local area, puritanical witch hunts, church graffiti, pargeting, the Henham dragon, WW2 pill boxes… amongst many other intriguing East Anglian references.
The Old Sun Inn is not just a building but a tapestry of history woven through centuries. Established sometime in the 1400s, Oliver Cromwell himself is rumoured to have stayed within its walls, using it as HQ during the civil war. The inn reportedly also welcomed notable visitors like diarists Samuel Pepys and John Evelyn.
The Old Sun Inn, Saffron Walden. Historic decorative plaster work/pargeting depicting the legend of Tom Hickathrift defeating the Wisbech Giant.
The building, comprising several structures on Church Street and Market Hill, is currently under the stewardship of Douglas Kent, the technical and research director at the Society for the Protection of Ancient Buildings (SPAB). The inn is undergoing a significant conservation programme, particularly focusing on its exquisite pargeting—an elaborate form of decorative plasterwork that is emblematic of East Anglian craftsmanship. This intricate pargeting not only enhances the building's façade but also holds regional importance, as it reflects the area’s rich medieval artistic traditions.
East Anglian folk legend - Tom Hickathrift fighting a giant. Inspired by the stunning pargeting on the facade Old Sun Inn, Saffron Walden.
The ‘I Still Hear Their Footsteps’ series consists of twelve mixed-media paintings, each measuring 15 x 40 cm. These dreamscapes are a direct response to the unique venue of the Old Sun Inn. My fascination with the historical traces we leave—both ancient and modern. The experience of exhibiting in such a historically rich environment an absolute joy. As I explore the layers of history embedded in the local landscape, drawing on the architecture, folklore, and traces of past lives. These mixed media paintings merge historical details with fantastical elements, creating a dreamlike vision of Essex and East Anglia. Themes of survival, resistance, and the triumph of life over death are recurring themes. These imaginary landscapes time travel all over the place but the 17th century dominates - Civil war, religious tension, superstition and insane witch hunts in Essex (and country wide) .
Painting in progress. Building up layers of spray-paint, painted collage paper, stencils, pen, acrylic, ink, oils etc
Here are the individual works in the series, each with its own distinct story:
‘The Siege of Colchester’
This piece imagines the siege of Colchester during the English Civil War, with a whimsical twist. It features Humpty Dumpty, reimagined as a parachuting character inspired by 1980s children’s TV show ‘Playschool’, descending safely behind Colchester Castle. According to legend, Humpty Dumpty was the name of a cannon used by the Royalists, making this a playful exploration of childhood mythology, historical speculation, and the enduring magic of nursery rhymes
Top - Seige of Colchester, Bottom - Henham Dragon. In one incarnation The Old Sun Inn was a bookshop. Still plenty of shelves left, part of the building’s long history. Here’s my vision of the siege of Colchester, the pale horse rides and Humpty parachutes to safety instead of smashing to smithereens. There’s also the Henham Dragon with a backdrop of trees from my favourite Essex lake to swim in (Gosfield). Witnesses reported seeing this vile flying serpent in the 1600s. I’m fascinated with myth v reality, magical thinking, good v evil and how the way children play can make sense of the world. I’m very happy my imaginary landscapes get to live in this bookcase for a while.
‘The Henham Dragon’
‘The Henham Dragon’
Inspired by 17th-century reports of a "vile flying serpent" in Henham, this painting depicts the legendary Henham Dragon against a backdrop of trees from my favourite swimming spot, Gosfield Lake. The piece melds local folklore with personal memories, creating a scene where myth and reality entwine.
‘Vinegar Tom’
‘Vinegar Tom’
This piece draws on Matthew Hopkins’ infamous pamphlet, ‘The Discovery of Witches’, which illustrated the familiars of Essex witches. Vinegar Tom, one of these creatures, is brought to life in my painting, capturing the eerie atmosphere of the early modern witch hunts and the strangeness that surrounds them.
Top - ‘Vinegar Tom’, Bottom - ‘Goddess Bottle’
‘Goddess Bottle’
Inspired by the Bartmann jugs—decorated stoneware used as witch bottles in the 17th century—this painting transforms the malevolent imagery of these vessels into a celebration of feminine archetypes. Neolithic goddess forms emerge from the bottle’s neck, perched among branches, with birds inspired by the decorative pargeting on the Old Sun Inn adding a touch of magic.
‘The Moles of St Osyth’
Evil-Lyn, the iconic villainous sorceress and one of He-Man’s nemeses in *Masters of the Universe*, stands under a fecund pomegranate tree commanding her horde of attack moles. This unsettling yet surreal painting references the infamous witch trials of St Osyth, where several women were accused of witchcraft and met tragic ends. The title refers to "moles," or familiars, said to belong to one accused witch. By wrapping historical horror in the absurd, I aim to confront the unsettling truths of these events while exploring how we process fear and superstition.
The Moles of St Oysth’. Between 1560-1680, 317 women and 24 men were tried for witchcraft in Essex. 100 were executed. 14 St Oysth women were accused in 1582, 10 were hanged. Again during 1645 witch hysteria meant more poor St Oysth women were persecuted. One of them Rebecca Jones, supposedly had ‘three things like to moules’ named ‘Margaret, Amie and Susan’ - familiars to use for vengeance and murder. I quite often deal with what I find unsettling by wrapping it up in the ridiculous. If you want to read about the Essex witches, there’s a book by Peter. C. Brown I’d recommend.
‘Garden of Eden’
‘Garden of Eden’
This dreamlike vision of the Garden of Eden features a large, comforting ginger cat nestled in the foreground. Adam and Eve are depicted in a style reminiscent of 17th-century English ceramic decoration, with a serpent entwined around a fruit-laden tree. The piece reflects on problematic historical attitudes towards women, using the symbolism of Eve and the Fall as a starting point.
‘Cromwell’s Daughter’
Set against the backdrop of the 17th century, this painting reflects on the turbulent era of the Civil War, religious tensions, and witch hunts. While Oliver Cromwell himself does not appear, his daughter Elizabeth does. Elizabeth Cromwell is portrayed in this piece, hinting at her role in interceding for royalist prisoners—an act of compassion that contrasts sharply with the era’s brutality. The sunflower symbolises loyalty and references a portrait of her from that time. The stylised abstract V and W shaped patterns are based on witch protection marks.
Top - ‘Cromwell’s Daughter’, Bottom - ‘Peacock, Chips and Hope’
‘Peacock, Chips and Hope’
This whimsical piece centres on Percy the Peacock, the unofficial mascot of Stansted Mountfitchet, who enjoys chips from the local kebabery. The scene is set against the backdrop of St Mary’s Church in Saffron Walden, where Cromwell’s troops allegedly stabled their horses, blending local lore with personal anecdotes.
‘It’s a Funny Old Game – Legendary Tom Hickathrift Fights a Giant’
Inspired by the pargeting on the Old Sun Inn’s facade, this work brings to life the East Anglian folk legend of Tom Hickathrift battling the Wisbech Giant. The pargeting’s depiction of this tale resonates with themes of underdog triumphs, adding a touch of lad culture and historical bravado to the exhibition.
Top - ‘It’s a Funny Old Game’ – Legendary Tom Hickathrift Fights a Giant.
Bottom - ‘Look at my Massive Familiar’ Battle Cat is too good for He-Man, he needs to become a 17th century witches familiar instead. She is going to wreak great vengeance upon those who have wronged her. This all makes sense to a brain that was formed by childhood play in the 80s
‘I Have a Massive Familiar’
In this playful painting, Battle Cat from the 1980s cartoon ‘He-Man’ is reimagined as a 17th-century witch’s familiar and as a trusted steed of a woman in traditional puritan dress. The piece embodies a sense of nostalgia and empowerment, blending childhood memories with the theme of vengeance and magical transformation. The circular pattern is inspired by carved architectural details in the door frame of the Old Sun Inn.
This series is ever-evolving. I have plans for further paintings that will continue to explore the themes discussed. It’s a never ending story…
For more details about the ‘There Be Giants’ exhibition and The Old Sun Inn, Saffron Walden. Artist Jessica Pearce has written about both - https://jessicapearce.com/there-be-giants-exhibition-2024/
Boudica - Ultimate Essex Girl
Boudica, Mixed-media painting on paper - Aine Corr
Boudica was the queen of the ancient Iceni tribe. She's famous for rising up against the Roman occupation of Britain. As a current resident of the East Anglia region she once ruled over, I have a soft spot for her. (Technically she’s probably a Norfolk girl, but saying as she rampaged all over Essex I can claim her in my imagination)
The reclining nude motif has been used by countless artists and I have commandeered this pose for my Boudica. She has a direct gaze challenging the viewer, and the text ‘Whatever’ is also defiant. Whatever! Or Whatevs! Is a throwaway expression used to cut an argument short and show disrespect. She's representing the Essex girl stereotype; irreverent, shameless and rebellious.
As a contrast to her rather brash attitude she's adorned in beautiful, intricate delft blue patterns.
A mix of water soluble media has been used in this painting- watercolour, ink, water-based pigment marker, highly pigmented inktense blocks/pencils, acrylic, gouache. Starting with light/transparent sketches with ink/pencil. Then subsequent washes with watercolour/ink, progressing to carefully applied layers of strongly pigmented paint in some areas. Overlaying paint results in concentrated, luminous colour.
50 x 65 cm/19.6 x 25.5 inches - mixed media painting on heavy weight, acid free Hahnemuhle paper.
If you are interested in acquiring ‘Boudica’ you can contact me for more details. I also have small Giclee prints available to buy from my website, see the link below… If you sign up to my newsletter there is 10% discount for Giclee prints.
