As an artist, curator and art educator for over 25 years, working in both Australia and the UK, I engage in multidisciplinary research and creative practice, also developing and delivering contemporary art projects that focus on materiality, colour, and the process of the creative act.
I established Single Track Gallery on the remote Hebridean Isle of Skye (Scotland), where I lived and worked for 6 years. During this time I was Head of Art and Design at West Highland College, University of the Highlands and Islands, and forged lasting relationships with artists, galleries and art institutions in Australia and internationally. As Vice Chair, and an active member of ATLAS Arts (Isle of Skye), an ambitious contemporary arts organisation, I supported the commissioning of creative projects by significant international artists. These took place in Skye's unique landscape, and focused on art, people and place. www.atlasarts.org.uk
I am a committee member of contemporary art organisation Modern Art Projects Blue Mountains, and have served on the grants committee of Blue Mountains City of The Arts Trust.
I hold a Master of Art (With Excellence) from the University of New South Wales Art and Design, which culminated in a large scale solo exhibition at Kudos Gallery, Sydney, and a Bachelor of Education.
I have extensive arts and educational experience in a range of cultural and academic settings, and have written content for nationally-accredited curricular frameworks.
My work distills sensory experiences of places, and their associated materials, into pure, abstracted, visual forms. It centres on the exploration and manipulation of colour, engaging deeply with site and situation. My inquiry results in assemblages of found objects, films, photographs, paintings, collage, and cast or painted beeswax works. Drawn from investigation of (and immersion in) natural, industrial, or domestic environments, these works concentrate personal, visceral experiences into tactile their most essential, tactile qualities. Surfaces are sensual, embodying specific contexts through the use of local pigments and materials. Quiet and meditative, they contain potent environmental residue, are often time-worn, and reveal subtle marks from years of human intervention.
I engage in mark-making in space, responding to internal and external spaces though the use of various materials and methods, relevant to specific sites and situations.
My practice references codes of minimalism, abstraction, and colour field painting, concentrating materials and forms, to highlight the inherent qualities of pigment, line, tone, light, shape and surface.