about…
Freya Porritt Wessman is an Irish-Swedish Illustrator, animator and visual artist based in the midwest of Ireland.
Her passion for folklore, mythology and the many worlds and characters found in everyday life are a constant source of inspiration in her work.
She graduated with a degree in Animation & Motion design from Limerick School of Art & Design 2024 and now pursues her ambitions in illustration, visual storytelling and design development for animation and film. The odd and peculiar are reoccurring themes in her work with a particular love for slight absurdity.
The many faces, voices and creatures of the natural world play a huge part in her creative process and often weave their way into her art.
‘Our natural world is place to be respected, loved and protected. A place for our souls to rest and our minds to play.’
Moving back and forth between Ireland and Sweden from a young age has had a long lasting impression on her outlook on life, culture and tradition. Her Irish and Swedish heritage has had a long lasting effect on her practice and her curiosity into story and myth across borders.
She’s had her graduate film ‘Moncha’ Screened around the world and win awards. Her film ‘The quiet eye’ Premiered at the Killlaoe music festival 2025, an immersive film curated and created for the performance of ‘Towards silence’ by the Irish chamber orchestra. Her films have been exhibited along the streets of the old utter of Limerick city. An initiative to bring light and curiosity into the darker months. A collaboration between Limerick city council, creative Ireland and Limerick school of art and design.
She had her first solo exhibition summer of 2024 with her collection of limited works ‘Peculiar beings and mysterious beings’
THE PROCESS
EVERYTHING STARTS WITH AN IDEA…or a feeling. Most of my work starts as a scribble, a scribble in a book, the back of my copy, the bottom of an envelope, the back of a serviette. Anywhere doodleable. Ive always struggled to keep a sketchbook as I’ve found it hard not to fear ‘ruining’ it. But in the last few years, I have tried to keep better track of my drawings.
Now…if i like the idea enough or am curious enough to want to get to know the character or find out more about the potential story that is unravelling…I’ll keep adding to it, perhaps even redo it on some proper paper. Watercolours, inks and fineliners are my favorite. When I started studying animation i got introduced to digital painting, and it has become part of my process. I’ll scan the artwork and continue painting and adding colours digitally. Sometimes, I might even decide to animate it.
Printing… This is the most exciting part for me. And the scariest. The texture of the paper, the feel and the colours are very important to me. If it works, it’s the best feeling, however it is equally frustrating if it doesn’t feel just right. Finally, I return to my desk; I love to embellish the prints with fine-line pens, black, gold and white. Allow small details to stand out and redefine certain elements. It also allows each print to be unique. Lastly, they get signed and if lucky enough, get to go to a new home.
