Aesthetics of structural man-made forms meld and clash with the natural in the artworks of Ann Kavanagh. With a type of fragmented sensitivity, delicateness, and daintiness, the work presents a serene and solemn calm that comes out of and abstracts into a carefully constructed chaos. This orderly chaos that Ann speaks about in her work reflects on the relationship between two seemingly opposing concepts; the wild and the urban landscape. 

Based in Dublin, Kavanagh's concepts and ideas begin from her photography and drawings and continue to experimentally develop into prints, across various materials such as Fabiano and Japanese papers. Recently, she returned for her second residency at Mi-Lab in Fujikawaguchiko, Japan, where she continued to advance her mokuhanga techniques, develop a more experimental approach to her methods, and collaborate with other international artists. 

Marking on copper and aluminium plates, etching, mokuhanga, and woodblock prints, Kavanagh uses Dadaist techniques of controlled chance and serendipity, editing until a composition begins to emerge, with fates decided by the parameters of the materials and her urban and rural surroundings. Each print emerges in conjunction with one another, as if they are interacting in an ecosystem, echoing nature’s ever-changing movement. The work not only reflects this fluidity in the continuously evolving fluctuations of the materials, but also in a contemporary approach to old techniques. The re-printings, the manipulations of colours and tones to achieve a conscious awareness, the constantly transitional processes; all are intertwined with this hand that implements its control onto the page or onto a natural and artificial system.