this work is part of a series which is shown both separately and collectively under the title of “sometimes it rains no 1-9. They investigate the nexsis between making and thinking. They are mechanically drilled wood engravings and are the result of the juxtaposition of a deliberate repetitive mark and structure and the accidental thoughts which occur during this process. The work sits within the history of landscape engraving, but but owes much to termites, white ants and other boring insects

this is part of the exhibitions “living winter dreaming spring”2012 “There /now/here/then” 2013 they are installations of
haptic mono prints created on location, exploring the nature of time and erosion and
seasonal change as seen in 2 locations and cultures Tokyo and Melbourne. They
utilize the erosive qualities of water to the influence the chemical properties of Paint
and Paper to communicate abstract thought.
These exhibitions investigates resonances, natural harmonies in pictures, the making and technological rendering of images and the relationship between this and the ecological balances found in landscape and natural systems. I do this by observing investigating and applying ideas of erosion, disintegration and reformation to pictures and objects.
The developed artwork while often self-determining, is a catalyst for communication, stimulating Human thought and our intoxication with pattern, the love of organic configurations and material process. These approaches constitute both method and subject producing work that deals simultaneously with both the minute, the monumental, time and place.

The simple explanation for this work is that it was developed over 3 years, from ideas generated by a residency in the Estonian environment. In one group of prints made there, I observed the material aspects of the Baltic pine architecture in Tartu, and then developed this idea using line within the confines of disruptive perspective and distinctive colour. My initial observations were expanded into “prayer book pages”, a large-scale work, which allows the viewer to engage with it in both a formal and experiential manner.
But this is a limited description and needs to be seen within the context of my thoughts and concerns both from its inception and those generated during the extensive time taken drawing this work, including the intimacy of the activity undertaken and emotions felt when making this print work.
This work was developed while thinking about the power of faith and uses my interest in Eastern and Western perspective for describing physical and spiritual location in artwork. Its visual genesis came years earlier from seeing a Hindu prayer book, which was covered with red fingerprints where it was opened for use every day. This has resonated in my mind for years. This work is my response to this and these other ideas.
Scratching and rubbing form this work. Each act of making a line in the work is concerned with and felt by its own moment of pressure, but these lines in the rubbing /printing are unable to resist the influence of the adjoining lines.
These simple human acts of touch create opportunities for paradoxical interpretation by using random actions within the confinement of specific linier methodology and distinctive colour. This activity leads to unpredicted responses and provokes cultural parallels between the activity and life.