Aisling Hamrogue is a New York-based painter whose horror-inflected canvases explore feminist theory, Catholic iconography, and the paradoxes of desire—she was featured in Ocula‘s New Rules: The Artists to Watch for 2026. Other artists featured in the article included Steph Huang, Jasmine Gregory and Brook Hsu.
Hamrogue was born and raised in New York, where she continues to live and work. She was brought up in a strict Catholic household, an upbringing that instilled a fascination with forbidden imagery and the taboo aesthetics of horror films.
Hamrogue received her BFA from The School of Visual Arts in 2004 and her MFA from Hunter College in 2017. The gap between degrees reflects her commitment to developing a mature artistic voice before pursuing graduate study.
Aisling Hamrogue creates oil paintings that integrate horror imagery and feminist theory, appropriating the visual language of 1980s book covers and film posters to examine patriarchal violence, erotic drives, and the fetishisation of women within popular culture.
This painting depicts a black dog lunging from darkness, baring white fangs with the name ‘Roman’ rendered in white lettering below. The work exemplifies Hamrogue’s cinematic approach, evoking pulp fiction aesthetics while transforming the canvas into a portal of allure and menace.
Blank Line presents a woman’s stockinged legs from behind, patent leather pumps on her feet and gloved hands gripping a pool cue. A blue-lit cityscape appears in the distance, channelling noir sensibilities reminiscent of Raymond Chandler.
In this work, a man peers through Venetian blinds at a woman’s gloved hand holding an ace of diamonds. Hamrogue has stated the painting was inspired by a personal experience as a teenager when she discovered a peeping tom watching her from across the road with binoculars.
The title work from her 2023 Los Angeles exhibition depicts a close-up view of a pipe organ, its gleaming silver cylinders at once mechanical and phallic. The title references St Augustine’s concept from The City of God, exploring contradictions in the pursuit of freedom and desire.
This oil on canvas measures 40 × 30 inches and was featured in the ArteEast Benefit Auction.
This 48 × 36 inch oil painting demonstrates Hamrogue’s reconstruction of personal experiences of patriarchal violence through the established genre conventions of horror.
To be kept up to date with news relating to Aisling Hamrogue, follow her on Ocula.
Aisling Hamrogue has been the subject of both solo exhibitions and group exhibitions at galleries in New York and Los Angeles. Below is a selection of exhibitions.
Aisling Hamrogue’s Instagram can be found at @aisling_hamrogue.
Aisling Hamrogue is a New York-based painter known for works that integrate horror imagery and feminist theory. Her paintings draw from 1980s book covers and film posters to examine patriarchal violence, erotic drives, and hidden power dynamics in American culture.
Aisling Hamrogue’s artworks can be viewed at galleries in New York and Los Angeles, including James Fuentes Gallery, Fredericks & Freiser, The Hole Gallery, and Rift Contemporary. Her works also appear at benefit auctions such as ArteEast.
Aisling Hamrogue lives and works in New York, the city where she was born. She is based in Brooklyn.
Aisling Hamrogue’s name is pronounced ‘ASH-ling Ham-ROAG’. ‘Aisling’ is an Irish name meaning ‘dream’ or ‘vision’.
Aisling Hamrogue’s works have been exhibited at James Fuentes Gallery in New York and appear at benefit auctions. You can explore sites like Ocula to find galleries that represent the artist and enquire directly about buying art by Aisling Hamrogue.
Aisling Hamrogue’s work is influenced by horror films such as Fatal Attraction, Candyman, and Silence of the Lambs, which she was forbidden to watch during her Catholic upbringing. Her paintings also draw on art historical references ranging from Caravaggio and Artemisia Gentileschi to Surrealists like Méret Oppenheim and Remedios Varo, as well as American artists Ed Ruscha and Christina Ramberg.
Aisling Hamrogue’s paintings explore the paradoxical relationships between death and pleasure, eroticism and violence, Catholicism and the occult. She uses horror as a foil to discuss the relationship between erotic and death drives in American culture, reclaiming imagery that fetishises and destroys the female form to uncover hidden power dynamics.
Ocula | 2026

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