In much the same way as Lafcadio Hearn's ghost stories have become part of Japanese folklore while remaining relatively unknown in his native Ireland, Flynn has, through a series of increasingly large exhibitions, captured the imagination in China, where he is planning another major exposition following the Olympics.

Of course, Flynn's work does owe something to the Chinese tradition of brush painting, but this is only goes a small way to describe the elemental nature of his landscapes . . . each of which is based on a real place, however seemingly abstract is the end product.

"There are certain images which repeat themselves in my paintings - shorelines, daybreaks, waterfalls and such, " he said.

"The images are all drawn from real places, and in that sense I know how each piece should look from the outset. But it is not important that the viewer knows from which place a particular image emanates - my paintings are deliberately vague, in order that that the viewer may complete the painting in a manner which best suits. In this way the viewer becomes a part of the creative process, blurring the lines between artist and audience. . . and while there is a certain amount of skill involved, a large part of what I do requires a wilful ignorance of the rules of oil painting. This way, I can produce an image which, ideally, appears to have no connection with anything other than itself and at the right moment, the soul of the viewer."

Flynn honed his skills in the early 1980s at NCAD, before what he describes as a 20 year lapse, which included time in the US.

However, his artistic influences have changed little since his time on Thomas Street. . . he still considers Turner to be "the greatest of painters". Other influences include the cave paintings of Lascaux, Monet's water lilies, Rothko, Giacometti, and Louis le Brocquy, who told him that he should rub out more than he leaves on ("a valuable lesson for someone who revels in the sheer joy of putting paint on surfaces, " said Flynn. ) In terms of style, while his paintings are not entirely representational, Flynn rejects the idea of his works as either abstract or cerebral.

"It has long ceased to be an artist's task to represent the physical world - in my work, I attempt to create a space, both visual and meditative, in which the viewer may wander.

This space is the focal point of my work and that I am not articulate enough to describe it as I imagine it frustrates me occasionally, " he said.

Until recently, Flynn displayed his paintings on the railing of St Stephen's Green.

"Sophisticated is a word used by people to describe art made by artists who pander to such people - it's an incestuous circle of pretension which, by accident or, more likely, by design, has tended to prevent anyone not in the circle from deciding to investigate art, " he said. "I loved showing my work on the railings - there is a wonderful vibe among the artists, each cheering the rest on, looking after each others' pitches and so on. There are painters showing work on the railings of city parks all over the world, who are producing valuable and interesting work . . . and, if that is where people choose to introduce themselves to art, then every artist whose work is sold for good prices in galleries owes his brethren on the railings a debt of thanks."

Flynn is currently turning one of the barns at his house in County Kilkenny into a studio and exhibition space. For directions, or to find out more about the artist, visit www. pcflynn. com.