Artist Statement ...
I see things in things
My every-day and ways of seeing are reflected in my work where domestic scenes intersect with ecological themes.
I see, draw and paint things in things. Pareidolia, the common psychological phenomenon of seeing faces, animals, patterns or objects in other things, interests me, in particular, how pareidolia can lead to thinking about the greater-than-human world, the interconnection of things and giving greater care. Where pareidolic ambiguity arrives within my work, I am totally engaged..
Iterative processes of painting my paintings within my new paintings, solidly features in my practice. Here I play with composition, colour and meaning, re-work concepts and create new dialogues in new settings.Through the act of painting and the theatre of conceiving and assembling the still life / interior set ups in front of me, I am enlivened and new ideas surface.
My investigations into ways in which still life could be employed within a painting practice to encourage viewers towards an alertness to ecological relationships were buoyed by my Fine Art studies at the University of New South Wales and the Australian National University.
I am interested in the possibilities of enticing new ways of thinking through connection and engagement with art.
My art practice is anchored in my science background and my regionally based domestic life with family and creatures including my four-legged friends. I value working within interdisciplinary projects such as the Art of Threatened Species project, a collaboration between Orana Arts and the Office of Environment and Heritage. Through this project my research process included fieldwork with specialists working in a threatened brush-tailed rock-wallaby population site and going behind the scenes at the Australian Museum.
I value living and working in regional Australia near Bathurst in Wiradjuri Country. Artist residencies are additionally valued, where I connect with people and places adding new ideas and ways of working to my art practice.
My every-day and ways of seeing are reflected in my work where domestic scenes intersect with ecological themes.
I see, draw and paint things in things. Pareidolia, the common psychological phenomenon of seeing faces, animals, patterns or objects in other things, interests me, in particular, how pareidolia can lead to thinking about the greater-than-human world, the interconnection of things and giving greater care. Where pareidolic ambiguity arrives within my work, I am totally engaged..
Iterative processes of painting my paintings within my new paintings, solidly features in my practice. Here I play with composition, colour and meaning, re-work concepts and create new dialogues in new settings.Through the act of painting and the theatre of conceiving and assembling the still life / interior set ups in front of me, I am enlivened and new ideas surface.
My investigations into ways in which still life could be employed within a painting practice to encourage viewers towards an alertness to ecological relationships were buoyed by my Fine Art studies at the University of New South Wales and the Australian National University.
I am interested in the possibilities of enticing new ways of thinking through connection and engagement with art.
My art practice is anchored in my science background and my regionally based domestic life with family and creatures including my four-legged friends. I value working within interdisciplinary projects such as the Art of Threatened Species project, a collaboration between Orana Arts and the Office of Environment and Heritage. Through this project my research process included fieldwork with specialists working in a threatened brush-tailed rock-wallaby population site and going behind the scenes at the Australian Museum.
I value living and working in regional Australia near Bathurst in Wiradjuri Country. Artist residencies are additionally valued, where I connect with people and places adding new ideas and ways of working to my art practice.
