Geraldine O’Neill (b1971) is one of Ireland’s most recognisable artists. She is a member of the RHA since (2013) Aosdána (2015) and the Artists Collective Shell/ter (S/TAC) which she co-founded in 2020. A graduate of NCAD, she completed her MFA in 2008. She has exhibited extensively in Ireland and abroad. 

Recent solo and selected group exhibitions include Shelter, with the S/TAC collective, The Print Gallery, National Gallery of Ireland(2023), It Took a Century, women artists and the RHA, The National Gallery of Ireland, 2023, Portrait Lab, The Model Sligo,( 2022-23,) Solastalgia, Kevin Kavanagh Gallery, (2022,) Meat and Potatoes, Crawford Art Gallery, Cork,(2022,) Golden Fleece Award 21 Years, Solstice Arts Centre, Navan (2022), Ground_Zero_ 360, Museum of Biblical Art, Dallas, USA (2021), New Perspectives, National Gallery of Ireland (2021), Blue, Garterlane Waterford (2020), 21st Century Ireland in 21 Artworks, Glebe House and Gallery, Letterkenny (2019), MAKing Art PAINTing, Draíocht (2019), In This Brief Time,Art ,Environment and Ecology, A Symposium curated by Dr Yvonne Scott, Trinity College Dublin (2018,) Many-Worlds Interpretation agus rudaí eile nach iad, Kevin Kavanagh Gallery, (2017,) Many Worlds, Centre Culturel Irlandais, Paris (2017), Hold To The Now,
SLAG Gallery, New York (2015)

Presently exhibiting The Sunset Belongs To You, a socially engaged portrait project with Mick O'Dea, The Model, Sligo, (2023-2024), The Ladder is always there, S/TAC with 10 emerging artists, Draíocht Arts Centre. (2023-2024)
Upcoming exhibition In a Dream in a Happy House, with the S/TAC collective,Limerick City Gallery of Art (2024)

O’Neill has given many guest lectures and is currently an external examiner with Atlantic Technological University, Sligo. O’Neill’s work is collected by the country’s leading cultural institutions including The National Gallery of Ireland, Irish Museum of Modern Art, The Model, Sligo, Crawford Gallery, Cork, OPW and The Arts Council. 

Geraldine O’Neill has long responded to the increasing confrontation with human engagement and relationship with the ecosystem, in particular the Anthropocene whose traces are now embedded within the geological layers of the Earth’s structure. She-makes what she calls “Slow Art” mostly painting but sometimes expanded paint, sculpture and print using traditional materials that is counter cultural to this fast paced disposable world that we now inhabit.

With her distinctive painterly approach she makes many layered and often very large compositions that quote past masters such as Patinir, Breugal, but she also appropriates new images, collected and gathered of the overlooked and fragmented, scientific formula and its diagrams and children’s drawings devising her own distinctive visual language. Found objects also feature such as the delicate stilled bird cadavers, gathered by care and gifted to O’Neill. All these elements reach across time  and space and feature in her robustly crafted multiverses.


“At the core of my work is a message that decay is inevitable, our time limited and our fragility exposed. Included in my compositions are dead songbirds, diagrams, picked flowers, weeds and images of the detritus of our world, which refer to our futile attempts  to control nature while drawing attention to the destructive impact of human activity ; never before has nature so much needed to be sheltered from us. As a parent I address the role of protector with a sense of foreboding - I portray my children as often unwilling or slightly disconnected subjects placed within my fantasy worlds where space and reality contradict each other playfully yet menacingly. Focussing on their vulnerability and innocence, they are the centre of my universe and I paint to affirm that I can shelter and protect them all the while knowing that so much is beyond my control.”