Spain: Ceramica y Ceramistas, Antonio Viva in Ceramica, 2018, no. 148


Ireland: Line and Detail, Interview The Irish Times, June 17, text by Sophie Grenham, photos by Mike Grenham
Shadows of Sodeisha, Irish Arts Review, by Audrey Witty


UK: OEN blog, Playful Expressive Forms – Dynamic Sculptures by Deirdre McLoughlin


UK:“GATHERING SHAPE”, Eleanor Flegg in Ceramic Review July – August 2015
China: "Deirdre McLoughlin: A Soul Stirring Art Show", MaSa 马莎 in  “China Art Ceramic” magazine, June 2015
The Netherlands: "Deirdre McLoughlin, Over trage wegen en volle leegten", Teja van Hoften in “KLEI” magazine mei – juni 2015 nummer 3


Ireland:EUROPE & BEYOND, twelve artists in clay, a Peppercanister Gallery Exhibition, Dublin Castle


France: "Deirdre McLoughlin" Gaetane Girard in La Revue de la Ceramique et du Verre, Mars- Avril 2013, numero 189
France: Ceramique 14 Paris
The Netherlands: YOU ARE NOT ALONE Yna van der Meulen, Klei magazine
The Netherlands: Beeldhouwerscollectief ABK met "Shaping Senses" Sya van 't Vlie
Ireland: Irish Craft Portfolio


Ireland:Touching the void, Irish Times, January 18. Article by Aidan Dunne
Ireland: Body and Soul, Ceramics Ireland, Issue 29.Review of Shaping the Void exhibition in Kilkenny by Henry Pim.
UK: Ceramic Review, May/June 2012.Review of Shaping the Void exhibition in Kilkenny by Eleanor Flegg.
UK: Art: Deirdre McLoughlin - Shaping the Void, by Cristin Leach Hughes, The Sunday Times, 04/12/2012.


Ireland: Catalogue essay Shaping the Void by Patrick J Murphy, Nov 2011


Germany: Profile Deirdre McLoughlin in New Ceramics, The European Ceramics Magazine,5/2010.


The Netherlands: Klei, January/February. Deirdre McLoughlin: Ooggetuigen van het leven door Yna van der Meulen.


Germany: KeramikMagazinEuropa/CeramicsMagazineEuropa,Juni/Juli. Dynamisierte Materie, Das Oeuvre von Deirdre McLoughlin by Henry Pim
Netherlands:Keramiek, Juni. Deirdre McLoughlin by Piet Augustijn


Ireland: The National Self-Portrait Collection of Ireland, Volume 2, 1989 - 1999, University of Limerick Press.
Ceramics Monthly, March. Deirdre McLoughlin by Nesrin During
Ireland: Clay to Sculpture: with reference to selected work of Deirdre McLoughlin and Fernando Casasempere by Anne Schnittger, thesis paper NCAD.


Belgium: KLEI, november. Amlash. Modern design van 3000 jaar geleden by Frank Steyaert
France: La revue de la CERAMIQUE et du VERRE, no. 140, Westerwaldpreis 2004, Otto Lindner
Ireland: Irish Arts Review autumn, Not Just Pots, Irish Contemporary Ceramics in the NMI, Audrey Whitty
Ireland: CERAMICS IRELANDSpring/summer


Germany: NEUE KERAMIK,September/October. Deirdre McLoughlin.


Ireland: The Irish Times,March 12. Review of solo show in Dublin by Aidan Dunne.
UK: COILED POTTERY by Betty Blandino, London A&C Black revised colour edition


2001 Ireland: Deirdre McLoughlin, A Pioneer in Irish Ceramic Sculpture, by Siobhan O Malley, thesis paper for HETAC Degree in Ceramic Design.
UK : THE FIGURE IN FIRED CLAY, by Betty Blandino, London A&C Black


Ireland: The Irish Times, 2/12/99, review of exhibition in Peppercanister Gallery by Aidan Dunn


Netherlands: De Hortus als Lusthof - good mention in De Volkskrant, De Telegraaf, Het Parool."


UK:COILED POTTERY by Betty Blandino, London A&C Black revised edition


UK:CERAMIC REVIEW-151, Swimming in the Pool by Michael Robinson and myself


UK: CRAFTS,March/April . Review of RECENT WORKS by Henry Pim.
Ireland: CIRCA,no. 67 . Review of RECENT WORKS by David Brett
The Sunday Tribune,3 april. A Sculptor of Top Rank by Aidan Dunne


Ireland: The Irish Times,July. A philosophical essay on three Irish artists by Dick Grogan
Germany: Siegener Zeitung, 4 september, and Westfalenpost 208, 5 september. Reviews of International Ceramic Symposium Bad Berleberg


Germany: Die Zeit, 5 juli.Review of CONFIGURA 1


Netherlands:De Gelderlander, 19/3/90. Review of solo exhibition in Arnhem, by Jan Nieland


Ireland:The GPA Irish Arts Review Yearbook 1988. Ceramics as Sculpture by Sean McCrum


Ireland: Four Ceramic Artists,essay in exhibition catalogue by Michael Robinson.
Ireland: CARA vol 20, No. 1. Getting into Shapes by Adam Woog


Japan: Kaleidoscope Kyoto, June. An Irish Potter in Kyoto by P. Tijeras





"I tend to be drawn to sculpture that has a simple shape and a recognisable outline, when there’s nothing too complex about the form but the edges stick out and are quite striking. It’s also important that the sculpture has an element of movement, a dynamic nature that exudes from the piece.

This is exactly the reason why I homed in on the work of Deirdre McLoughlin, an Irish artist who constructs these expressive forms from clay."

Mark Robinson - OEN 2016


"Het woord ‘sense’ omschrijft voor mij nog het meest de essentie van haar werk. ‘Sense’ in de zin van zinnig en zinvol, ‘it does make sense’. Maar ook in de betekenis van ‘sensible’ beseffend, van belang, gevoelig, de zintuigen betreffend. En als ik alleen op de klank van het woord afga, denk ik aan sensatie, gewaarwording, maar ook aan sensueel. En eigenlijk is haar werk dat allemaal."

Teja van Hoften - KLEI, 2015


"I have often felt that a ceramic vessel carries layers
of meaning that are linked to its historic relationship with human survival. They remember, from their place on the gallery plinth, that their great-great-grandparents were made for milk or barley or the ashes of the dead. Sometimes I see them as palimpsests, scrubbed clean of history but with the old stories running like a background programme underneath the skin."

Eleanor Flegg - Ceramic Review, 2015


"With these two big-sized vessels, this work represents a good compromise between the various meanings of the vessel as an archetype of mankind: a food container, with a modern and perfect shape, which becomes a real sculpture in an appropriate light, a form unique as a result of being created from different models. The jury underlined the perfect dialogue between the outside - more 'matt' and metal like - and the inside - more brilliant and glazed in deep violet, both making the work a perfect, beautiful and extraordinary composition, quoting the 'vessel' nowadays."

Jury, Keramik Europas - Westerwaldpreis 2014


“Les pièces de Deirdre McLoughlin s’inscrivent avec élégance et sobriété dans l’espace de l’exposition. Les lignes épurées des sculptures créent des formes tendues qui évoquent le corps et sa sensualité.”

Gaëtane Girard - La Revue de la Ceramique et du Verre, 2013


"….her sculpture is dynamic. This is the quality that seems most often to impress her audience: the sense of presence, and the ability of her sculptures to command the spaces where they are shown. This has nothing at all to do with story telling, or conveying a message that can as well be said or written. Her sculptures are abstract. Over and over again she hits the bull’s eye and produces another significant form."

Henry Pim, Ceramics Ireland, Issue 29, 2012


"While the forms she makes are elegant, and the coloured glazes she uses sumptuous – this is often achieved by polishing and repeated firing – there is also a distinctly humorous quality to the work, a playful sensuality."

Aidan Dunne, Touching the void, The Irish Times, 18 January 2012


"I know a work has come to an end when an inner logic reveals itself. The work in an instance feels right. I sense something true."

Deirdre McLoughlin, New Ceramics, May 2010


"In werkelijkheid is het mijn eigen werk dat me inspireert. Zoals een reis waarbij de ene stap de andere voortbrengt, zo leidt elke welving of beweging in een stuk tot het geheel. En een werk dat af is brengt me bij het volgende. Als ik geen enkele inspiratie heb, ga ik toch naar het atelier, zet mijn handen in de klei en werk tot er iets gebeurt. Zoals een personage uit een toneelstuk van Samuel Beckett, ik ga door."
Een sculptuur hoeft van Deirdre niet mooi te zijn, als er maar leven in zit

Yna van der Meulen, KLEI 2008


"Deirdre McLoughlin’s work has it’s origins in a fascinating·dialogue with classical ceramic forms and functions, but it is as if the dialogue has moved on to a concern with the body as a kind of container, and her instinct for the contained void , for the tensions inherent in shape, is fantastic."

Aidan Dunne, Wall & Plinth, exhibition catalogue, January 2008


"Het keramische werk van Deirdre McLoughlin is sculpturaal te noemen. Zacht glooiende vormen die aanvankelijk vrij gesloten, maar de laatste jaren heel open van karakter zijn. Alsof de klei ter plaatse de lucht omsluit maar deze toch voldoende uitweg biedt."

Piet Augustijn, Deirdre McLoughlin; Keramiek, Juni 2007


"With the I am too, an open shape, McLoughlin has entered a new phase in her work. She is no longer coiling sculpture in space, she is trying to find the space in the form; she explains it as 'coiling around space'”.

Nesrin During, Deirdre McLoughlin; Ceramics Monthly, March 2006


"De keramiek van Amlash spreekt ook tegenwoordig nog sterk tot de verbeelding. Bij een aantal hedendaagse keramisten is eenzelfde benadering te zien: de drang naar eenvoud, het zoeken naar de ideale proporties, het spel van curven en de strakke oppervlakten .......... [Deirdre Mcloughlin] creëert een spanning tussen net niet omvallen en steunen, die zich op het scherp van de snede afspeelt, en roept zo vragen en gewaarwordingen op. Ze laat ons genieten van een schitterend, gladgepolijst oppervlak, dat op een sublieme wijze het licht opvangt".

Frank Steyaert, Amlash. Modern design van 3000 jaar geleden; Klei, november 2005


"Balance and harmony, poise and contrast in each of the individual forms as well as in the interplay of the two vessels determine the first impression here. With a powerful formal language as well as proportion and fragility of the vessel types, they present themselves as sculptural objects, spatial bodies.

In addition, unspectactular and inconspicuous, there is the elegance of the material component, of the exquisite technique which also corresponds to the language of ideas: finest marble seems to have been used rather than clay, warmth and skin-like surfaces are to be found where unglazed surface defines spatial volume. Unpretentiously, nonsense is made of the ceramic discussion about vessel and sculpture".

Jury, Keramik Europas - Westerwaldpreis 2004


"They [empty forms] are eloquently economical ceramic bands that almost magically conjure up a sense of human presence, loss and memory, through their use of subtle, ambiguous forms and positive and negative space. In a way they are hardly there at all, but they are amazingly strong works".

Aidan Dunne, The Irish Times, March 12, 2003


"McLoughlin's significance is that she is the sculptor who found in ceramic, the medium to express herself, and very selectively chose and developed what she needed without any reference to existing conventions".

Michael Robinson, Swimming in the Pool, Ceramic Review, 1995


"McLoughlin's recent work is immensely skillful in all respects, but the less we notice the skill, the more interesting and moving it is....She is the real thing - a sculptor of some power".

David Brett, Circa 2 Magazine, Northern Ireland, 1994