Contemporary artist Camille Souter first came to prominence in the international
art scene in the 1960s. Her work tends to be small-scale, intimate and highly coloured, and while she has been associated with abstract expressionism most of her work retains a figurative element. Camille Souter was a member of the group the Irish Exhibition on Living Art, the movement established in 1943 to add an international dimension to Irish art.

To date, Souter's career as an artist has spanned five decades. For Camille Souter,
 it can truly be said that her art is indistinct from life experience. All of her paintings are intricately related to those things that involved her mind at the time of painting. This applies to subject matter and even the materials used which, as a working mother, often depended on what was to hand including brown paper and aluminium paint.

Souter's paintings show a fascination for her surroundings - be it in her father's garden or at a fish market, observing the metallic tones of the day's catch. Her interest in theses things is not casual or temporal. For example, for her series of work based on airplanes, she learned to fly in order to be closer to planes, to get inside the fences at airfields.

Stylistically, Souter's work has ranged from abstraction to greater realism and back again. However, even in the works that seem most abstract, there is always subject matter. She titles her paintings, Achill '59 or Basil's Fertiliser Plant, or Musical Clown at Duffy's Circus and the titles reveal her inspiration.

Camille Souter, who has now established a strong reputation on the international
art scene, continues to work on Achill Island as well as in Italy.