I love rich, complex images surrounding my everyday life – these images become the source of my art.
It can be an abandoned industrial site or steel structure, the waterfront, the ocean, or a close up of some interesting
urban detail – they all have stories to tell. I try to capture these stories in my paintings, creating compositions strong in shape, texture, colour and light.
I’m particularly interested in that haunting, vaguely musky smell of old oil soaked timber and crusty old engines caked in grease. As a child I used to watch my father potter around his cluttered garage, his tools hung neatly on the walls, each with its own special place. I was never allowed to touch anything but I loved being with him there, among those objects and his old heavy timber workbench. I have no doubt my feelings for industrial subjects came from those magical times with my father.
As a student, I spent much time around the (then very busy) industrial sites of the Balmain peninsula, gathering material
for my major work on the Sydney Harbour Ferry Services. The Colgate Avenue workshops that maintained the harbour ferries,
SG White & Co. workshops on Fitzroy Avenue, where restoration of the ferry, South Steyne would later take place (I later became
a member and volunteer of The South Steyne Steamship Preservation Society), the Balmain and White Bay power stations
were all rich sources of subject matter for a young student driven by a powerful need to paint and draw. Obtaining permission
to enter the workshops was easy then, especially for a young woman with a smile and a sketch book.
Influences are too many to list but I’m interested in masters of light; particularly Spanish artist Joaquin Sorolla y Bastida,
the Australian Impressionists of the Heidelberg School and the lesser known Australian Tonalist painters. Also contemporary artists Henry Hensche, Stuart Shils, Tibor Nagy, Kim Cogan, Jeremy Mann (the list goes on and on…) stimulate my fascination
with the different moods created by ever changing light.