Helen O’Toole was born and raised in Ireland and moved to the United State in 1986 to escape endemic unemployment and find adventure. She now lives and works in Seattle, WA.

Best known for her large-scale abstract oil paintings, O’Toole is a recipient of a John Simon Guggenheim Memorial Foundation Fellowship (2016), a Contemporary Northwest Art Award (2016), a Pollock Krasner Award (2013), the Jack and Grace Pruzan Fellowship (2009-2015), and the Wycoff Milliman Endowed Fund, and many other national awards. She completed her MFA at the School of the Art Institute of Chicago, Illinois, (1989) and spent the summer of 1989 at the Skowhegan School of Painting and Sculpture, Skowhegan, Maine. She has participated in residencies at the Tyrone Guthrie Centre, Ireland (1992), The Fine Arts Work Center, Provincetown, MA (1991-1992), and The Bemis Foundation, Omaha, NE (1993). Her work is in the Portland Art Museum, Portland, Oregon, and other public and private collections. O’Toole is currently the Floyd & Delores Jones Endowed Chair in the Arts at University of Washington.

I am an abstract painter. My paintings relate my experiences and observations of growing up in the west of Ireland in the mid-1960s to the mid-1980s. The traces of time evidenced in the landscape of my youth are a repository for our collective memories of the past and its persistent influences on the present: boundaries, control, oppression, trauma, and the insidious rumors surrounding the people I heard about or knew. My paintings consider the often-unspoken harshness of rural life, the people displaced from their homes and land by injustices and cruelty at the hands of an oppressor, and the implications of a post-colonial condition contributing to a generational sense of inadequacy.

Over the past ten years, my paintings have proffered the form and conventions of history painting through color, space, structure, and the materiality of paint. Migration, 2015 memorialized the sufferings of people expelled from their ancestral lands and dwellings and forced to migrate to other places within Ireland as a direct result of English colonization. The declaration “to hell or to Connaught” is attributed to Oliver Cromwell, who enforced mass migration within the country. Connaught (the west of Ireland) was considered inferior and much less desirable than the other three provinces in Ireland. Pirate Queen, 2021, commemorates the sixteenth-century Irish woman known colloquially as Granuaile (Grace O’Malley), whose story embodies the historical and rebellious doggedness of formidable, independent women. Trace, 2021, and Rumor, 2022 deal with persisting stories of hardship that permeate land holdings I was familiar with and their ongoing impact over generations. I frequently use the tropes of romantic landscape painting as a lens to relate to the history of settlement, expansion, and oppression. History painting has often glorified the power of the church, the state, or the painting’s possessor. My paintings instead memorialize the past, paying tribute to my ancestors who worked the land or were displaced. In my paintings, I acknowledge the past and the collective implications of our darker histories, where I lean into potent tropes of historical landscape painting to depict these collective memories. 

Helen O’Toole
December, 2024

Portland Art Museum, OR
Capital One, Richmond, VA
Swedish Hospital, Seattle, WA
Mc Kinsey &CO., Chicago, IL
Amdahl Corporation, Hinsdale, IL
Tuthill Corporation, Hinsdale, IL
National College of Art and Design, Dublin, Ireland
Regional Technical College Sligo, Ireland