Describing the Australian bush environment provides a conundrum possibly unique to artists of this land. How does one talk about the chaotic scrawl of the bush, the ad hoc monumentality of a rock scape or the intimate delicacy of the worlds of mosses and lichens, when in general terms these landscapes provide no apparent structure, no focal point. In my own questioning of this dilemma I have come to the use of geometry as a basis on which to work. Reducing the information that is presented to an elemental form gives me a starting point, an architectural framework within which the multitude of elements can be described. It is these elegant and simple shapes that in their containment, by their rules, allow freedom.
One of the essential shapes, the square is as high as it is wide. In the oldest writings and in the rock inscriptions of early man, it signifies the idea of enclosure, of home, of settlement. Enigmatic in its simplicity, in the monotonous repetition of four equal sides and four equal angles it creates a series of interesting possibilities.
The geometry provides a harmonic skeleton to which an infinity of constructions can be applied, as well as a surface that supports and determines the particular decoration. Within this architecture the images are able to safely flow, moving away from and towards a kind of chaos, while being held to a very coherent order.
The works evoke the landscape, multi layered, earthy and mysterious. One is initially invited to an overview, the softly curvaceous structure of the lines at once reminiscent of peering closely at a woven fabric or of flying over a gently undulating landscape. The patterns then channel us into windows of delicately glazed vignettes of indeterminate content, are they landscapes with trees, cloudscapes or sunsets? One is left questioning, enticed to explore but also limited, held on the threshold between what is and what may be.