CV
Oona Hyland is a visual artist and a recent graduate of the MA in Art Research and Collaboration from IADT in Dublin and an MPhil in Irish Art History TCD . Hyland was awarded the O Malley Award with Ian Joyce in 1996. She has been awarded numerous residencies . She was shortlisted for The On Paper Print Award Barcelona (2021). Elected to The Royal Society of Painter/Printmaker London (2021) and Emerging Artist Award DLR, Dublin (2022).
Hyland represented Ireland in Onsaemiro, South Korea 2019 and 'Beyond the Horizon' Sao Paulo Biennale (collateral) event 2018. In 2022 she was awarded an Agility Award to attend Mi Lab in Japan for Mokuhanga print training. In 2024 represented Ireland at a collateral event of the Venice Biennale Giudecca.
Awarded the Ushaw Residency and Acquisition Prize 2025 as part of Woolwich Contemporary Print Fair London. Other exhibitions in 2025 include exhibitions at Casa Regis Biella, Via Lattea Turin and 3T A.P.I.R Brescia , as well as a residency and exhibition at The Narrows Artist Retreat in B.C Canada. In 2026 she has a solo exhibition with Custom House in Co.Mayo. Currently exhibiting Succour 250ml at RHA Dublin.

Artist statement
My interests are interlocked in the materiality of print itself and what such processes can convey towards a conceptual art practice. My method is a vehicle to articulate processes of memory, concepts of boundary, resistance, erosion, and decay. My work attempts to confront the site of trauma as a site of unfathomable loss of the marginal self. This loss and pain is placed in the context of communal support and empathetic listening. Essentially to do this I try to develop an innovative way of perceiving the relationship between the self and the other.
Often contemporary art is understood to be a relic of the artistic process, an investigation into the nature of things via objects’ materiality. I am interested in exploring and disrupting this idea on the one hand acknowledging the way physicality impacts content and subsequent meaning and on the other, questioning our responses.
In this sense my work tends to draw from traditional printmaking even as I expand into various other media, such as drawing, sculpture, fi lm and video. In my works I argue that the knowledge(s) of printmaking can be applied to existential matters. Learning from the stone.