About Kate McGloughlin
In a time when the tempo of modernity displaces reflection, Kate McGloughlin returns us to an essential truth: that place has memory, and to engage it through the visual arts is to enact both reverence and restoration.
From the coastline of Ballinskelligs to the sacred valley of The Glen, McGloughlin's landscape paintings and monotypes are acts of witness. They do not replicate the world; they distill it. Her brush, bold and assured, carves the rhythmic undulation of hills, the hush before storm surf, the fleeting hope in morning skies. As a master printmaker, she renders the ephemerality of light with the physical discipline of woodcut and monotype—a tactile choreography of ink and intent.
An International Voice in Landscape Painting
From solo exhibitions in Woodstock, New York to multi-media installations like her elegiac Requiem for Ashokan, McGloughlin has carved a career that transcends borders. Her teaching, too, stretches beyond the Hudson Valley to workshops across Ireland, Italy, Mexico, and Scotland—each an offering of community, craft, and reflection.
“She teaches not with dogma, but with invitation and warmth,” said a student at the Woodstock School of Art, where she currently serves as Director of The Graphic Workshop and revered Instructor of Landscape Painting and Printmaking.
Thoughts behind the work
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Returning to Cill Rialaig, in the Southwest of Ireland, amid the blue dusk of Kerry and the sea-lashed cliffs of Bolus Head, McGloughlin finds not only inspiration—but inheritance.
“I work from the land as I find it—open, luminous, and unyielding. Ireland has that knowing.”
Her Irish landscape paintings echo with both personal ancestry and painterly lyricism: lichen-green fields rising to mist, ochre-stained bogs, and silvery clouds that seem to pass through you. These are not mere images. They are songs without words.
Like the French symbolists before her, McGloughlin understands that text and image are not rivals, but siblings. Her writing—evident in exhibitions like Requiem for Ashokan—offers meditative accompaniment to the visual, allowing the viewer to step further into her world:
“The moon knows her longing
Light blue and holding
The old trees loosed by the same
Rage of nature, gnarled and bared
By another turn of the Sun”
— from Requiem for Ashokan
Experience Her Work, Join the Conversation
Visit katemcgloughlin.com for upcoming workshops, international retreats, and exhibitions.
“To see her paintings is to remember what it is to look. To be in her studio is to remember what it is to be alive.”
J. Barnett