Grace Ellen Plunkett’s practice extends within the constraints of painting, expanded paintings in the forms of installation or sculptures and collage. Central to all of these working methods is the focus on the act of play, this idea enables a certain level of engagement with her work, allowing her intuitive approach to making to take over.


She focuses on the notion of how can her paintings not just be viewed as a flat surface but as a body of work that interconnects within itself challenging herself the artist and her viewers. She is heavily concerned with space, the relationships between colour and forms and the layers in her paintings whether it be through the use of paint or materials.

She doesn't apply any restrictions when creating any body of work and feels no means to justify her processes. She explores her processes and methods by embracing all mistakes and errors and allowing for the freedom of painting to come to the forefront of her mind.


Painting without concept or concern allows for her work to go back to the basics, her work is simply not expressing any representational images but an event, the event and act of just painting. Her work explores a balance of direction and improvisation; certain aspects of her practice are planned but a large amount is due to impulsiveness and feeling. She finds that the antagonism between these two opposites create fascinating processes of making.


She has always from a young age been interested in the ability to build compositions, as a child she would spend most of her time away from other children cutting boxes of cardboard and building random compositions, this familiar way of making has then been fostered into her practice today. Her work reflects those creative attachments she had as a child showcasing stacking and building layers and compositions whether it be in the form of just paint, or layers of fabrics and materials.

Her works features fearless narratives of colour, fusions of fluid and bold graphic geometric forms and playfully configured compositions which non-representationally highlight the way she views our uniquely diverse world. This is how she attempts to engage with her audience, showcasing the very personal relationship she has when creating her paintings.

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