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Your current exhibition Rock, Sky, Fossil explores the experience of observing the natural world, shifting between micro and macro perspectives – from plant structures and microscopic forms to geological strata, mountains, landforms and skies. Can you tell us how you generate ideas for this kind of subject matter? Where do you start?

I am always collecting visual imagery, whether it’s taking photos on my phone of things that interest me, saving screenshots from the internet on all kinds of topics, looking at other artists’ work, or collecting objects, samples and clippings that feature colours, textures and shapes I like. I’m essentially building a library of visual information that I can refer to when looking for new ideas. It’s a hoard of sorts!

I guess it’s a process of working out what I am naturally and genuinely drawn to, what I find interesting and what I’m curious about. I have always loved the interplay and crossover between art and science, and the natural world has always been a central source of inspiration for me. I spent much of my childhood in the bush, rock climbing, climbing peaks and identifying plant species—all interests shared by my family while I was growing up.

So it’s no surprise that I have been particularly interested in plants and botanical specimens, as well as the more linear, geometric patterns found in geological formations in my work. I love the contrast between intricate, organic complexities and bolder geometric shapes and textures. The idea of exploring fossils as a theme grew out of these interests and seemed like a natural progression for my work.

Can you talk about some artists you admire and draw inspiration from?

There are so many. I love seeing and learning about other artists’ processes and techniques in their practice. I’m drawn to certain aesthetic qualities, as well as the ideas, inspirations and decision-making behind the work.

More recently, I have really resonated with some of the early Dada artists, particularly the female artists who helped to drive the movement. I’m inspired by their use of what is around them, their sense of play, their willingness to challenge traditions and experiment with new ideas.

A few contemporary artists who have helped shape my ideas and practice include UK printmaker and painter Katherine Jones, Australian artist Nicola Moss, and New York-based artist Sarah Sze, to name just three.

Some of the artists who I admire on a more personal level include Tracey Emin, Grayson Perry and Kiki Smith. There are so many other contemporary artists, especially Australian artists, whose work I love and resonate with. Some who are personal friends. Too many to mention!

You have a distinctive, multi-layered process that combines techniques from both painting and printmaking, can you tell us more about this?

I always loved painting and drawing when I was younger, but I often felt like something was missing. When I studied fine art, I discovered printmaking. I loved the diverse, manual, step-by-step processes of each of the techniques. I also loved the thrilling element of surprise that comes with making a print, as it is a less direct method of mark-making than using a pencil or a brush.

Printmaking traditions usually have constraints and disciplines around them, which I loved learning about, but I eventually found myself enjoying experimenting with and pushing against these conventions far more. I have found I am quite driven to experiment with effects and layering, combining painting techniques, adding textures, and vice versa. I am naturally quite a curious person, so experimenting with different combinations of techniques and trying things out really drives my practice, particularly in bringing together these two usually separate disciplines.

For example, achieving a ‘successful print’ often involves refining tonal qualities and ensuring consistency without imperfections, which takes a lot of practice. I am more interested in the mistakes that can happen, the ‘misprints’ or the prints that would usually be discarded. These things spark my interest because they create an opening for me to respond to. My current process is pretty much about creating situations where these mishaps or surprises can happen, and then shaping my compositions and next decisions around them with paint.

Play, curiosity and experimentation are central to your visual language. What is your favourite medium/technique to explore and why?

I use acrylic paint because it dries quickly, can be mixed with water or other mediums, and is fairly affordable. I carve lino plates, saturate their surfaces with paint, and print onto canvas or board. I sometimes press the lino plates together with paint to create interesting effects, or use ‘ghost printing’ techniques.

I am currently experimenting with making printing plates out of cardboard and found materials, like collaged plates or collagraphs. I think this will be my next area of exploration. Cheaper and more sustainable. It also links to Dada philosophies around using everyday materials.

How do your compositions evolve? Do you have a plan for use of negative space or do the artworks develop as you experiment?

I often make sketches of a composition as a starting point, but I tend to diverge from them throughout the process, although they often remain a point of reference. The artworks develop as I go, as the layers build. I try to respond intuitively to what is happening and not overthink things too much. I am getting better at leaving negative space, although this is something I am still working to improve.

If I find myself overworking a painting, I will put it aside for a period of ‘rest’, work on something else for a while, and then come back to it later. Allowing space to reflect is becoming an essential part of my process. Leaving negative space in my work is something I am continually trying to improve on.

What would we find on the playlist in your studio?

Mostly music. I love a good podcast, but not when I’m in the studio, as I tend to lose focus. I’ve been listening to a lot of Lhasa De Sela, Cate Le Bon, Timber Timbre, Tindersticks, Lost Animal, CMAT and Loma recently. I also listen to music by artists who had a formative influence on me and are still making music today; artists I’ve loved since my youth – Nick Cave, Thom Yorke, PJ Harvey, Kim Gordon, The Drones, The Cure, Yo La Tengo, Cat Power and more. I have many playlists. I was a 90s teen, and some things will never die. A bit of background, focus-type music is always good too. Finding new stuff is always fun, recommendations are always welcome!

How do you work through moments of self doubt or if the creative ideas are not flowing?

Self-doubt is very real and always there, and I think it always will be. I’ve learnt to listen to my doubts, if I feel they’re valid, rather than ignoring them. By thinking about what might be underlying them, identifying the root cause, I’ve found that I can then shift past them and it even helps my work grow. For example, if I find myself doubting a creative direction, it usually means I still have more to explore and that perhaps more discernment is needed in how to evolve it.

I have no shortage of creative ideas, with a massive library of visual material to draw from! Too many ideas, not enough time. Which can actually work against me sometimes, now that I think about it.

If I do feel stuck, I simply remove the pressure to create a ‘finished work’ and allow myself to play and experiment again, without an expected outcome. Playing around is really freeing and often helps me move past any hesitation or doubt.

In your life as a teacher, how do you inspire young artists and what advice would give an emerging artist who is just starting out?

Firstly, I should say that these are points I need to often remind myself of, too, as they’re just as relevant to my own practice.

Art is a process, finished/resolved artworks are just the outcomes of that process, so you have to keep going, keep making. Therefore, I would encourage students, of any age or any stage, to play, experiment and try new things, always, while limiting their expectations around producing finished, polished work as the priority. Keep the play happening.

Also, while it’s great to look at and familiarise yourself with other artists’ work, it can also be intimidating, especially when we compare ourselves to artists who have been practicing and refining their work for many years. Try other artists’ techniques, materials and approaches. Look at their ideas, how they approach their areas of interest in their work. but be mindful of fashions and trends, avoid copying. Just keep making.

Be conscious to notice and reflect on what interests and resonates with you, what seems to be working. Those little signs are what pushes an authentic practice forward. From there, you can evolve and cultivate your own unique visual language. I believe this is where the real art lies.

You have created a large body of work for your current exhibition Rock, Sky, Fossil. What is next for you?

I have quite a few unfinished paintings (too many!), so I might try to resolve a few of them or start over. I’m itching to make bigger paintings again, so that will be a renewed learning curve for me. I have a few ideas on the boil, and it will be interesting to see which ones come to fruition.

Can you tell us one fun fact about you?

The translation of my married name is somewhat dramatic - it’s a Sinhalese name that I’ve been told means ‘brave/strong/powerful/courageous’ (Wickrama) and ‘lion’ (Singhe). Perhaps a slight improvement on my maiden name, McHardy, meaning ‘son of Hardy’, which is a little plainer! Both names refer to male lineage. Which one would you choose?!