Wild Irish Kin is a family-run craft workshop in the west of Ireland, creating handcrafted metal sculptures inspired by Irish wildlife and the shared landscape.

Working across three generations, they transform raw steel into expressive animal forms using precision plasma cutting and hand-finished rusted patinas. Each piece is individually finished and sealed by hand, giving it a unique character.

Their collection celebrates the animals that live alongside us, in woodlands, fields and coastlines, with each sculpture designed to feel both contemporary and rooted in Irish heritage. They make pieces to live outdoors, to weather naturally over time, and to become part of the story of a place.

What’s a typical day in the studio like for you?

There isn’t really a typical day, our work runs in short batch cycles of about two weeks, and each stage brings something different. Once the steel is cut, we begin the finishing process by deburring, grinding and smoothing every edge by hand. From there, the pieces go into a bath to remove any oils or residues from the surface. This can take anywhere from 24 to 36 hours, depending on the surface.

What comes out is a flat, matte grey surface, not very inspiring at that point, but that’s where the real transformation begins. After neutralising and cleaning the steel, we apply a rusting process that develops over several days. Temperature and environment play a huge role, so we monitor it closely in control conditions.

There’s a lot of observation involved, returning to the pieces, adjusting, coaxing the finish. When we’re happy with the patina, we seal it with a protective oil, which deepens the colour into a rich, bronzed tone. That then needs time to cure fully. Alongside all of that, the day can move between making, problem-solving, preparing stock, and the many small jobs that come with running a family workshop.

What do you like most about your work?

I love that it’s physical and hands-on, that I’m not sitting at a desk or looking at a screen all day. There’s a real satisfaction in working with the material, moving through the process, and seeing something take shape. A big part of it is problem-solving. Steel doesn’t always behave the same way twice, especially when you’re working with natural processes like rusting. That unpredictability can be challenging, but it’s also what keeps the work interesting.

What I value most, though, is that it’s a family project. We’re working across generations, my dad, my mum, my husband, and my son, each bringing different skills and perspectives. Every piece that leaves the workshop has passed through all of our hands in some way, and that shared making is a huge part of what makes the work meaningful.

What do you like least about your work?

Probably the parts that take me away from making. There’s a lot involved in running a small business, admin, logistics, keeping on top of stock, emails, and all the day-to-day tasks that need to be done. It’s necessary, but it can pull you away from the workshop.

I also find the unpredictability of materials challenging at times. Working with natural processes like rusting means things don’t always go to plan, especially with changes in temperature or environment. That said, those challenges are part of the work, and you learn to work with them rather than against them.

What’s your favourite craft item in your home?

It’s hard to choose just one in a house shaped by making, but two pieces always come to mind.

One is our hall table made by my husband over 30 years ago from native cherry wood, with a flowing handle detail across three drawers. My dad made the steel rails for it at the time.

The other is a ceramic tulip tower made by my mother for her graduation show, which she later gave to us as a wedding gift. It’s a striking sculptural piece that sits in its own alcove window also in our front hall.

Both pieces carry family history, and that sense of connection through making is something I really value.

Tell us about your first craft item you made

My first craft pieces were jewellery that I began making in my first year of college. I sold the work under the name Daisy Chain through a number of shops in Limerick, including local boutiques and craft stores. It started as a way to earn extra money, but it quickly became something more — an early experience of creating and selling my own work.

I later developed a second project called Endstone, creating ceramic clocks that were often commissioned as wedding gifts and sold through galleries. That work gave me a deeper understanding of material, form, and the idea of making pieces that hold meaning for people. Looking back, those early projects weren’t just about making, they were about building a craft practice and a brand. That thread has stayed with me and continues to shape the work I do today with Wild Irish Kin.

Where do you get your inspiration?

My inspiration comes from a combination of landscape, material and lived experience.

I’m influenced by the Irish environment and the wildlife within it — often through small, fleeting moments. A fox caught briefly in headlights at night, a kingfisher pacing us along a canal as we kayaked, or the quiet return of animals like otters and hedgehogs into places where people didn’t expect to see them again. These encounters stay with me.

I’m also inspired by the stories people share. At markets especially, people will tell me about animals they’ve encountered or remember from childhood — a hedgehog rescued in a garden, otters returning to local waterways, or even collections of objects built around a single animal. These stories carry a real sense of connection and affection.

Alongside that, I draw from Irish heritage and visual language, and from the material itself — how steel behaves, how it weathers over time.

There’s a strong thread in Irish culture of being connected to place and to wildlife. That connection, both personal and shared, is at the heart of where my ideas come from.

Who is your inspiration?

I’m inspired less by a single person and more by movements and ways of thinking about design and making.

I’ve always been drawn to the Arts and Crafts movement and Art Deco — that balance between craftsmanship and form, and the idea that everyday objects can be both functional and beautiful. There’s a strong sense of integrity in those traditions that I really value.

Designers and architects like Charles Rennie Mackintosh, Eileen Gray and Frank Lloyd Wright have been important influences, particularly in how they approached material, structure and space.

While those influences don’t appear directly in my work, they’ve shaped how I think — especially in creating pieces that are simple, considered, and connected to their environment.

Is sustainability an important aspect of your business?

Yes, sustainability is an important part of how we design and make our work.

At Wild Irish Kin, we create wildlife sculptures specifically for Irish garden spaces, encouraging a connection with native species and the natural world. Our materials are durable and long-lasting, supporting a “buy once, buy well” approach rather than disposable or seasonal décor.

We work in small batches, with a focus on Irish sourcing where possible, and use recyclable packaging. Our aim is to create pieces that are kept and lived with over time.
More broadly, the work itself reflects an appreciation for biodiversity, celebrating the presence of native wildlife in our gardens and everyday surroundings.

What’s the most challenging part of your craft?

Balancing consistency with individuality. Each piece is handmade and naturally finished, so no two ever turn out exactly the same. That’s part of what makes them special, but it also means you have to pay close attention to quality at every stage.

Working with steel and rust adds another layer to that. The material doesn’t always behave the same way, temperature, timing and environment all have an effect, so you’re constantly adjusting and responding to what’s happening in front of you.

You’re trying to achieve a certain standard while still allowing each piece to have its own character. That balance takes time, patience and a lot of experience.

Have you ever had a “happy accident” while making something?

Yes, one that really shaped the direction of the work.
I had made a birthday card for my dad with a fox illustration on it, and afterwards we decided to experiment with cutting that design quite a bit larger in steel. When we saw it scaled up in metal, it was a bit of a revelation.

What had been a flat drawing suddenly had presence and weight, it felt like something entirely different. That moment made us realise there was something in this, and it set us on the path towards what became Wild Irish Kin.

There are smaller “happy accidents” along the way too, but that was the one that really mattered.

How do you balance creativity with the business side of things?

It’s a constant balance, and the business side can very easily take over if you let it.

I recently heard about a concept called “Flamingo Friday” at a design event in Galway, a dedicated time set aside just for creativity, for trying ideas and thinking freely without pressure. I really liked that idea, and I try, where I can, to carve out time like that myself.

Even small moments help, like working on a new point of sale or exploring how to present the work to someone seeing it for the first time. It allows you to be a bit more playful and not focused on orders, stock, or the long list of day-to-day tasks that come with running a business. There are always a hundred practical things to do, but the reason I do this is to create.

For me, creativity is closely tied to problem-solving, it’s about making something with purpose, with function, and with a sense of story behind it. Keeping that at the centre is what helps me balance both sides.

What made you choose your discipline?

It wasn’t a single decision, it evolved over time.
I’ve always been drawn to making, whether that was jewellery, ceramics or design work, and to creating something tangible that people can live with.

Working with steel came later, but it felt like a natural fit.
My dad worked in metal all his life, as a fitter, draftsman, teacher, and in prototyping and tool making — so I grew up around that world. He worked across everything from sheet metal to wrought iron, aluminium and steel. My mum, as a ceramicist, also influenced my love of design. I’ve always had an affinity for learning new skills and for making something from materials you wouldn’t necessarily expect.

And now, working alongside my husband and my son, who are both makers and designers, it feels like a continuation of that shared way of working. Over time, it has come together in what I’m doing now with Wild Irish Kin.

What would you say to anyone thinking of becoming a DCCI member

I’d say it’s a very worthwhile step. Being part of the Design & Crafts Council of Ireland, and the Made Local campaign, connects you with a wider community of Irish makers who genuinely value craft, quality, and making things well.

As a small family business in the west of Ireland, that sense of connection is important. It brings visibility, but also a feeling of being part of something bigger, a shared commitment to thoughtful, well-made work.

It’s also a reminder that what we do matters, and that there’s a strong audience who want to support local making.

Favourite book?

Frog Routes, Polka-Dot Newts and Other Stories of Irish Nature by Anja Murray. I love her writing style and I learn something new every time I pick it up. Manchán Magan said that it is “a book to rewild the senses,” and I couldn’t agree more. In fact, any book by Manchán is also a treasure trove of inspiration.

Favourite film?

The Grand Budapest Hotel or anything by Wes Anderson. I love the aesthetic and graphic style, it really appeals to my background in graphic design.

Best concert you have ever been to?

An open-air concert we happened upon one evening in San Remo, Italy. The weather was perfect, we ate pasta from a paper plate and drank wine from a plastic cup, but the talent and atmosphere were incredible. It even gave us the theme tune for our holiday, Caravan by Ella Fitzgerald.

Favourite meal?

Chicken à la king holds very dear memories of when my husband and I were dating. We used to meet in McSwiggans in Galway before heading out for the evening. It has since become a signature dish in our home, loved and requested as a treat by all the family.

What do you listen to?

My taste is quite eclectic and spans the last 50 years. I tend to choose music depending on my mood, or sometimes based on who I’m thinking of, something that reminds me of them. I like to match music to the pace of what I’m doing.