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How does the environment around you influence what you choose to paint or draw? Does changing weather, light, temperature, or atmosphere affect your work?

Living and working embedded in a landscape for over 30 years creates a symbiotic relationship between person and place – you care for the landscape as the landscape cares for you. The deep level of respect for place that grows with time and experience means that sensory observation of light, atmosphere, temperature etc becomes second nature and appears organically in my works. The desire to capture stories of place grows and changes as the relationship with and understanding of landscape function becomes more complex. These emotions, conscious and unconscious responses are all contained in my works.  

How does being physically present in the landscape differ from working from photographs or memory and what does working outdoors allow you to understand about a place that you might not understand in the studio?

My process initially depends upon physical experience of landscape working en plein air but will incorporate a combination of experience and memory of place once I am back in the studio. I do not use photographs at all in my practice as once I have developed my onsite field work I have all the material that I need. Personally, for me, a photograph is a digital memory very different to the human experience - one which I feel confuses rather than enhances my response to place.

Are you interested in documenting the environment, interpreting it, or responding emotionally to it?Has your relationship with the environment changed through your practice?

I am interested in all of the above – documenting, interpreting and responding emotionally to place. The 3 are inseparable for me. I usually paint with an underlying message, story of environmental function or experience in landscape to communicate. This may or may not be obvious to the viewer. My practice allows me to express a deepening understanding of the science & function of our ephemeral landscapes, along with an ever deepening curiosity about the history and geography of this ancient place. My practice has allowed me to consider the complex relationship between people and environment. Also to recognise and respect the role that our traditional owners have in caring for our complex, fragile Australian environments.  

Could you walk us through your process of generating ideas whilst plein-air painting through to developing your studio work?

Whilst working in the field, I let observation and sensory experience of place determine the outcomes. On a typical work day in the field I will aim to arrive early to catch the gentle light and forms. I usually take a thermos, sketchbooks and gouache or inks which always sit ready in my backpack (my field kit is not complicated). Sometimes I also take a book (usually related to science, environment or experience of place) and read while I work. This combination of observing, painting, note taking, reading and thinking provides a powerful emotional experience for me (which I hope translates to my work). It also provides clarity. 

Once back in the studio, I will work on multiple pieces of various sizes using my sketchbooks and notes as jumping off points. Often the smaller pieces can be more abstracted and allow me to problem solve elements of larger works. Each body of work has an underlying theme or story which allows me a framework with which to evaluate each piece.