After graduating from Galway University, Noirin Mooney studied under the legendary McEvoy and Mannering at Limerick College of Art before herself preceeding Walter Verling as Art-Lecturer in The Teacher Training College, Limerick. Her life teaching in Limerick ceased with her marriage to Brian Mooney. when she moved to the Burren in 1969.

The early part of her time in the Burren was devoted to batik, a craft which she felt was eminenly suited to expressing the Burren. She virtually re-defined the craft with her 14 9 X 6 Scenes from the Tain. These had been commissioned by Bob O'Driscoll, Professor of Celtic Studies at the University of Torronto, for his Celtic Consciousness Symposium held in 1979 and now generally accepte~d as probably one of the greatest ever. They were hung in the great Octagonal Convocation Hall of the University. Tom Kinsella, the poet christened these, ' Ireland's 14 pagan Stations of the Cross!.' Grainne Yeats was chosen to compose and play the music for a video exploring them.

The Tain Series was followed by two further Essais: : 'The Creation,' which toured the US from Louisville to Los Angeles via Santa Fe in New Mexico and finally finished up in Canada; and 15 Episodes from the Passion of Christ. commissioned by St. Jarlath's College, Tuam. During this whole period NOIRIN was constantly endeavouring to come to terms with translating the magic of the Burren into her preferred medium, paint.

Her paintings inspired full Exhibitions in Ireland ( Galway,Limerick, Dublin, Belfast, Kilkenny, Dingle, Tralee etc.) and abroad ( America, Canada, England Holland et alia ) Cyril Barrett, Jim Kemmy, Colm O'Briain, Desmond O'Malley, Lelia Doolin are all among those who, at one time or another, opened her Exhibitions. Whenever he visited Ireland, .Sidney Nolan, the Australian painter, was a constant visitor to her studio drawn by what he called, , the breadth.' of her landscapes When opening her 2005 Exhibition in Kenny's, Galway, the late John Q'..Q.Q.I1Qhw~ spoke of , 'the incredible t1uency and movement' of her work. And, again, describing the portrait of a musician, he spoke of 'the music itself seeming to break beyond the instrument; and the person; and the form.' NOIRIN is fully recognised as a bona fide Irish artist
and is registered with the Irish Government. Accordingly, her work enjoys tax-free status