We’re delighted to welcome North Belfast-based artist Hannah O’Hagan to The Duncairn’s workshop programme. An award-winning Irish artist based in Belfast, she works primarily in oils, and her practice explores the quiet beauty of everyday life and the cultural fabric of Ireland.

Hannah’s course, Introduction to Oil Painting, is designed to help participants build confidence with oils while exploring the quiet beauty of everyday life through modern still life. Rooted in the rich tradition of oil painting, the course focuses on composition, observation, and gentle storytelling through objects and memory. The course sold out in just three days, which tells us there is hunger for learning about oils as a material and we hope to be able to run another series in upcoming workshop seasons - watch this space!

Can you describe your path to becoming an artist? Tell us about yourself and your journey so far.

I’ve always loved being creative and can’t remember a time when I wasn’t sketching or painting. I studied Foundation Studies in Art and Design at Ulster University and absolutely loved it, but I didn’t pursue fine art at the time. For years, painting was something I did in the background — it’s always been a way for me to escape and unwind.

It wasn’t until the Covid lockdowns that I found the time and space to focus more seriously on painting. But, it wasn’t until a few years later, during a particularly intense and difficult time in my life, that something inside me truly shifted. Everything felt like it had bottlenecked, and in the middle of all that pressure and stress, I felt an overwhelming need to throw myself into painting.

To help rebuild my confidence, I made a promise to myself that while I was off on maternity leave with my daughter, I’d begin sharing my work publicly for the first time. That small step — just over a year ago — set everything in motion. Since then, my journey has surpassed all my expectations: I’ve sold work both locally and internationally, won the 2024 ING Discerning Eye Northern Ireland Regional Prize, had two paintings selected for the Royal Academy of Arts Summer Exhibition 2025, and was even featured on national TV as part of The One Show's RA Summer Exhibition coverage.

How does your creative process work? What materials do you use?

I work mainly in oils, drawn to their richness and flexibility. I use a darker colour palette and often work in short bursts — usually in the evenings or during naptimes, as I juggle life with my one and three-year-old. One of the reasons I also love oils is that they allow me to pause and return to a painting hours or even days later, something I couldn’t do with faster-drying materials like acrylics or watercolours.

My process is intuitive and rooted in quiet observation. I’m drawn to the stillness of everyday moments — a half-drunk pint, wilting flowers in a glass. The real challenge for me is to capture the feeling behind the object, not just its form. I want my paintings to feel intimate and atmospheric, like you’ve stepped into a moment suspended in time.

What inspires you?

I’m inspired by the quiet, often-overlooked moments of daily life — and the stories and emotions everyday objects can hold. I’m particularly interested in how personal memories and shared experiences can be expressed through still life.

What are your big dreams and aspirations as an artist?

I want to continue developing my practice and build on the momentum I’ve gained so far. One of my next steps is to create a strong, cohesive body of work. Alongside that, I hope to keep working with organisations like the Duncairn. I believe creativity thrives in good company, and I’ve seen firsthand the positive impact art can have on wellbeing. I’d love to support others in rediscovering their creativity — especially those who haven’t had access to the arts before.

Is there anything you would like to see change for artists based in Belfast (supports, spaces, networks?) that would help them grow and develop sustainable careers?

I’d love to see more dedicated funding and support for artists in Northern Ireland. When I speak with artists in the Republic, I’m always amazed by the range of grants and incentives available to them. More investment here would make a huge difference — especially for emerging artists trying to balance creative work, buying materials, and paying the bills.

I’d also love to see continued and expanded investment in community arts. For so many people, it’s the first point of access to the creative world, and often the place where they find the courage to call themselves artists for the first time. That’s incredibly powerful — and worth protecting.