About the artist

Liam Roe was born in 1935, and grew up in Marino, North Dublin city. The second eldest of four sons, he showed an interest in sculpting from an early age. However, it was in 1958 at the age of 23 that he took up a night class in wood-carving at North Strand Technical School. His talent was immediately recognised by his teacher who suggested that it was Liam himself who should be teaching the class. He then set up a studio in his parents’ garage and from there, dedicated himself whole-heartedly to perfecting the craft of wood-sculpting.

In 1962, Liam quit his job as a civil servant and travelled to the renowned Oberammergau in Germany where he lived in a wood-carver’s home and studied wood-sculpting at the highest level. On his return to Ireland, he attended a night class in wood carving at the National College of Art and Design (NCAD) in Dublin. He consistently produced pieces of increasing quality and In 1963, held his first exhibition of 45 pieces of his work, at the New Gallery at Brown Thomas in Dublin. 

In 1976 Liam took up the position of Lecturer of Wood Sculpture at the NCAD, where he taught wood-sculpting to full-time students of the college. He also taught a weekly night class which was attended by both students and professionals, one of whom was his original teacher. 

Liam had a broad range of personal interests which were reflected throughout his artwork. Recurring themes included depictions of viking battles, Irish culture and history, the human and animal form, and objects of an equine and religious nature. He had a special fondness for exploring the relationship between mother and child, be it through a human relationship, a mare and her foal, or even that of the Madonna and Jesus. His preferred woods to work with were oak, walnut, Spanish chestnut, elm, yew and lime.

Liam was passionate and principled in his approach to his work, and maintained his connection to nature, already possessing a strong sense of environmental justice. He favoured sustainably-grown wood sources over industrialised and commercial forestry, often recycled old pieces of furniture, and worked within the dimensions of an existing piece of wood. He avoided the mainstream art scene and although he adapted to an evolving artistic landscape, he fought to keep the art of traditional wood-sculpting alive.

Liam continued to sculpt with a single-minded commitment and dedication until poor health finally forced him to lay down his chisels. In 2010, Liam passed after a long illness, leaving a number of unfinished pieces that are a testament to his dedication to his craft and his sheer tenacity in fulfilling his creative visions.

Liam Roe with his interpretation of the “Pieta” in 1972.