Niamh Twomey’s exploration of the port of Chania has led her to immerse herself in the materials found along its coastline. Working with organic matter such as seaweed, sea moss, and sea grass, she creates sculptural forms that echo the ancient Cretan vessels, drawing parallels to the containers and tools we rely on today. Her work reflects on the themes of permanence and impermanence, and the shifting value of objects over time, how what is discarded today may be revered tomorrow as an antique or artefact. 

Central to Twomey’s practice is the use of crochet and lace, a deliberate nod to Chania’s rich textile history. Weaving in Crete dates back to the Minoan civilization and continued through Byzantine and Ottoman periods, serving as both a practical and expressive part of Cretan women’s lives. This tradition lives on today through museums, workshops, and artisans, and Twomey weaves it into her work as a form of cultural connection and continuity. 

Through the use of biodegradable and transient materials like wax, cotton, and plant matter, Twomey’s sculptures are intentionally designed to decay, melt, and return to the earth. These works resist the traditional notion of art as a lasting legacy. Instead, they pose a quiet but pointed question, in a constantly evolving world, what does permanence truly mean? By embracing the natural cycle of growth and decay, Twomey invites viewers to reconsider the purpose of creation and the legacy artists seek to leave behind.