My local environment, the Blue Mountains give me so much to work with, to observe, to experience, to paint.
Such a range of imagery from the rocky escarpments, the grey-green bush land, the lush fernery of the forest floor, the random groomed clearing in the valley, the burnt and blackened banksia, the tall white gums, the vivid yellow of wattles, and the famous hazy blue mountain horizons.
While painting I am reminded that nature is not only seen but also felt. The peace of being in nature, by a waterfall, surrounded by trees, is intrinsic to my wellbeing. The trees breathing are like my lungs. The sun throwing light on a scene, is like my eyes. I feel a deep connection to my surroundings.
How these sensations convert into painting? For me the process of painting is about impressions, surrendering the need for finite detail, making a mark on the canvas – gestural and expressive that suits that character of the place.
The sun’s path across the land, the intensity of light and/or subtly of light: all these moments I try to capture with colour.
Silouettes of colour show the passing of time. The morning may present an expansive fog cloaking the empty blackness of the valley, and by midday the escarpment is illuminated in orange and red. By afternoon the treetops have turned red, then purple and eventually fade into a haze of blue.
I start my paintings mostly in open air, on site. They are progressed in the studio and taken back to site if needed. Occasionally I am challenged with rain, fog, hail and snow drifts and my car becomes a mobile studio.