artists

Life’s infinite and mysterious architecture, as well as the work of my teachers and peers, extend infinite invitations to examine and explore.
I express my experience of community and place using analogies of systems in nature, science and anatomy such as rhizomic or network imagery and reinterpreted biomorphic shapes, invariably referencing disintegration and renewal cycles, whilst simultaneously making underlying references to ceramics conventions.

My childhood was spent in the country in Republic of Ireland and I have always felt a deep connection to nature. I acknowledge the traditional owners of Australia and the Bundjalung Nation where I am pleased to have been welcomed. My feeling of being ‘one body’ with the landscape leads me to align landscape and anatomy as correlating systems that have containment and flow in common, the oscillating rhythms suggested through open and constricted formations. The fluid light-filtering patterns, part of my vocabulary of transformation, variously reference the life of the soul and consciousness.

Borderline options in the making process provide the dissonant occasions for unexpected developments to manifest. On a political front, a compulsive creativity emanates from the perceived need for urgent social and environmental change (e.g. change to the growing, global ‘democratisation’ of unpardonable disempowerment and violence, and to overdue decisions about our responsible use of land and energy). This influence is balanced by my pleasurable engagement with poetry and language/s, as well as with organic gardening and rainforest regeneration pursuits. The aesthetics of repulsion, disturbance, menace or sabotage are seen as inseparable from those of the ‘eternally beautiful’.
2006