What driving forces sustain a lifetime's pursuit of imagemaking? Doubtless for each individual so engaged, reasons are many and varied. Captivation with translating the very three dimensional world into two dimensions through drawing and painting stems from my very early days. The seen world, objects, places, weather, people, are rich subjects for the visually oriented. Swayed not by demands to conceptualise or justify through theory, I simply make images from visual wow moments that touch my soul - they are a personal experience of place. Beyond the often arduous process of resolving an image (which in the studio I think of as great the dance of paint!) there is much satisfaction if a work speaks sufficiently to another and then joins their collection.
Tertiary art studies culminated in a UNSWCOFA Masters in Painting. I was fortunate to gain sufficient part-time tertiary lecturing employment to sustain myself and a not often profitable painting practice. Now with the luxury of painting full-time it is all systems go in the studio. Some 20 years ago I began, through 4wding, to explore remote areas, and for a decade ran tours taking artists outback to paint, also visiting many Indigenous communities with arts centres. The rich bank of visual references such trips proffered is well ensconced in my mind, as well as in plein air works and photographic form. Exploring Australia remains a passion and so the image bank constantly expands.
Love of landscapes' wow moments likely stems from an outdoorsy upbringing - not the traditional school sports activities but much time spent afloat and in the bush. TAFE training gave a strong technical base initially, which stood me in good stead through university, then as a tertiary visual arts teacher and practitioner. I love the "how to????" challenge of making work, and constantly push the boundaries - a risky approach but why just keep doing what you know how to do????? Early involvement in printmaking has filtered through my painting processes and use of tools.
My themes are elemental and inexhaustible. Works for a Masters by Research related to painting water. Decades later, and regularly at Whale Beach, entranced by the wild sea and its monumental meetings with the Coast, the sea inspired a quite different series. Nature and the water cycle looms large - clouds, storms, snow, waterfalls - you name it! Fire wreaks havoc, exposes the skeletal land and eventually enables new life. The land changes with seasons - deserts often don't see rain for years, then barren turns to bloom with a shower.
These days I use acrylics on stretched linen, with various mediums. The paintings are layered. I think of Auerbach as I scrape back and build again on what is revealed.