Throughout much of human history, women have, and continue to be the underdogs. Every career, every hobby, every path in life has had hundreds of women whose power, influence and talents have been hidden away, quietly brushed under the carpet and lost to the passage of time. The art world is no exception to this truth but lying underneath this shallow societal surface lies something special; the quiet yet fiercely untameable power of woman. This power has been captured within the loving brushstrokes of Sheila Flaherty whose defiant, painterly gaze demands to be acknowledged.
Irish oil painter Sheila Flaherty is an award-winning, internationally exhibited figurative painter known for her hyperreal, contemporary works that tackle topics of identity, transformation, courage and resilience. Sheila completed her BA in Graphic Design at the Limerick School of Art and Design as well as her P.G.H.Dip in Art and Education at the National Collage of Art and Design. The Dublin-based artist combines a thoughtful creative approach with her technical precision knowledge to create thought provoking artworks that will encourage viewers to engage with her work on a deeply personal level. Currently Sheila is represented by PoetsArtists, an online platform and art community providing publishing and marketing opportunities to contemporary realist artists.
I hope my work stands as a testament to emotional honesty and courage. I want it to be a space where quiet strength is celebrated, and where complexity-particularly feminine complexity-is not simplified but honoured.
Interview with Sheila Flaherty
Women are the heart of your work, who are some of the women who inspire you?
I’m drawn to women who embody quiet power-those who move through the world with integrity, intellect, and a kind of defiant softness. Often they are artists from the past whose work I’ve sought out during travels. Anytime I’m abroad, I’m pulled toward museums and galleries-places like the Prado, the Alte Pinakothek in Munich, MEAM in Barcelona, the National Portrait Gallery in London, or here at home, the Hugh Lane and the National Gallery of Ireland.
When I was in school and college, I rarely saw women artists represented in the curriculum. Their significance was marked by absence. But as I began researching on my own, I discovered powerful figures like Clara Peeters, Rosa Bonheur, Artemisia Gentileschi, and Rachel Ruysch- extraordinary women who mastered classical realism and used their work to tell richly symbolic, personal, and culturally relevant stories. Their courage, intellect, and skill continue to inspire me.
Can you talk us through your process of how you develop initial concepts into completed oil paintings?
My ideas are constantly percolating-there’s an ongoing mental sketchbook that never really closes. I have a steady stream of images, symbols, and moments running through my mind, and even if I don’t act on them right away, they’re forming, refining, waiting. Sometimes a painting lives in my imagination for a year or more before I begin. But by the time I sit down at the easel, the image is fully formed-it pours out of me because it’s been carefully distilled in the background for so long.
Even though my execution is methodical and precise, the emotional foundation is intuitive and honest. I work from a place of authenticity, and I try to express exactly what I know, feel, or have experienced myself. I believe that’s what makes the work resonate. For me, the specific is universal. When you speak clearly and truthfully about something deeply personal, it often connects far more powerfully than something designed to be broadly relatable. That emotional clarity is always my aim. I build the final image through planned photography, props, symbolism, and a strong visual composition-but the emotional spark always comes first.
Your work focuses on themes of reliance, transformation, courage and identity. How do you approach these themes? Do they come from a very personal place or are they more generalised ideas that can apply to anyone?
I don’t paint generalisations-I paint what I know to be true, or at least what’s true for me-my truth. I try to be honest, specific, and emotionally brave in what I show. There’s a vulnerability in that, but I think it’s what gives the work power. My approach is always to be authentic. Rather than diluting an idea to make it broadly accessible, I trust that by expressing something deeply felt and specific, it will resonate more widely. The specific is universal. I go to the places in myself that feel the most raw or real, and I paint from there with as much truth as I can.
Your painting ‘Red Sheep’ really speaks to those of us who’ve always felt like a black sheep. It feels like we’re being acknowledged by the painting itself, telling us we’re not alone. Can you tell me more about what this painting means to you? Is it a self-portrait?
Yes, it is-though not in the traditional sense. ‘Red Sheep’ is about what it costs to choose your own path. The red sheep is deliberately positioned on the nose, like a clown’s nose, symbolising the indignity people often experience when they step outside what’s expected. There’s a real discomfort in resisting the pressure to conform. It’s far easier to go along to get along-but “fitting in is the opposite of belonging.” This painting celebrates those who have done that-who’ve stayed true to themselves despite the pressure to conform. ‘Red Sheep’ is about the quiet strength required to be authentic, especially when that authenticity is met with resistance. In the end, it’s not just better for the individual-but also for the world around them.
What is the current art scene like in Dublin and how do you feel your work fits into it?
Dublin has a lively and passionate art scene, but my work sits a little outside the prevailing trends. I don’t have a local peer group of figurative or hyperrealist painters-especially not those working in a conceptual space with a strong technical foundation. But I’ve been lucky to exhibit widely abroad, and I stay in touch with artists I’ve met internationally. Social media has made that much more possible, and I value those connections deeply.
Locally, the Artful Joggers group-has become an enjoyable part of my week. We meet on Saturday mornings for a run, followed by coffee and conversation. The group includes creatives across disciplines: photographers, actors, graffiti painters, fashion designers, comedians. It’s a beautiful blend of creative energy, and even though their practices differ from mine, we share a passion and drive that keeps me inspired. That sense of artistic community is beautiful.
What are the most rewarding aspects of your work as an artist?
Taking something intangible-an emotional atmosphere, an idea, a visual metaphor-and transforming it into something physical and real still feels like alchemy to me. It’s deeply rewarding to see something that’s lived in my imagination for months or years finally take shape on a panel.
There’s also a magic in seeing a collector connect with a painting, when something I created becomes part of someone else’s world. That kind of resonance-intimate, visual, and emotional-is the heart of why I paint. Another deeply rewarding part of being an artist is the conversations and connections it fosters. When art is the shared topic, people seem to drop their guard and speak more openly. Whether I’m talking to artists or collectors-or even someone outside the art world-there’s a richness to those conversations. I’m endlessly curious about what collectors are drawn to and the stories behind their collections. Being part of the art world often feels like living on the best possible frequency. It’s a beautiful place to exist.
What are the most challenging aspects of your work as an artist?
The emotional and technical demands of my work are significant-each piece asks everything of me. I work long hours alone in the studio, and the process requires deep focus and emotional honesty. But I see that as part of the honour of the role. Getting to paint every day is an extraordinary privilege.
The challenges are real, of course-balancing studio time with logistics, international shipping, exhibitions, deadlines-but they’re far outweighed by the rewards. I feel incredibly fortunate to be doing this work.
What lasting impact do you hope your work will leave behind?
I hope my work stands as a testament to emotional honesty and courage. I want it to be a space where quiet strength is celebrated, and where complexity-particularly feminine complexity-is not simplified but honoured. And if I succeed, I hope it also makes space for others to follow. I’ve been very intentional about pushing my skills and pushing the boundaries of what I’m willing to reveal in my work. I want to continue to grow, to become bolder and sharper both technically and emotionally-and to leave behind a body of work that reflects that evolution. That’s the privilege of being an artist: to tell the truth, as bravely as you can.
I’d also love for my work to live on in collections around the world-scattered across museums, private collections, and public spaces. There’s something beautiful about a painting taking on new life, telling its story in different contexts, mingling with the lives of those who encounter it. That’s when the work becomes something greater than just mine-it becomes part of a larger conversation.
Do you have any exciting upcoming projects or shows that you can tell our readers a bit about?
Yes-I’m currently a finalist for the TARtget ArtPrize in Madrid, with the award gala taking place this June. The exhibition will be held at the Ateneo de Madrid. Being part of this inaugural prize and exhibiting in such a significant venue is a real honour, and I’m excited to see my work in conversation with other exceptional contemporary figurative pieces from around the world.
I’ve also been awarded a residency with the Almenara Art Collection in 2026, and I have a major exhibition planned next year with Gallery Stephan Stumpf in Munich, with details currently being finalised.
This summer, I’ll be in Pouch Cove, Newfoundland, for a residency with James Baird Gallery, and I continueto work with 33 Contemporary Gallery, regularly submitting work for both physical and online shows-including at their showroom in Palm Beach. It’s been exciting to see my work reach new audiences internationally, and I’m looking forward to deepening those relationships.
Most recently, I’ve been selected for ‘The Power of She’ exhibition at Summer & Grace Gallery in Ontario, opening this May, where my painting Defiance will be exhibited. I’ve also been invited to exhibit at ‘The Portrait Show 13: Magic’ at Modern Eden Gallery in San Francisco, opening in June, and I’m currently preparing a new work for that show. It looks to have a wonderful line up of artists.
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