The journey is more important than the destination. My practice is a visual diary for my investigation into the natural landscapes I walk through, following an undetermined path of exploration. The works are both a starting point and end result; they take me places and inspire me, fuelled by my curiosity and continual observation of the organic world. Physically and mentally beginning with a walk, I investigate the multitude of connections within nature. Developing intuitively, my artwork becomes a poetic form of knowledge, opening the way to new perspectives in the landscapes I encounter.  

I make conscious connections between the processes of time, evident both in the landscape through the changing seasons and in my transitory route physically through it. The concept of walked paths, drawn lines and the organic movement in the environment, overlap physically and conceptually in my pieces. Everything in the landscape exists in an intricate network, there is no beginning and no end in how the processes and materials relate and depend on one another. In my work, this interconnectivity takes on multitudes of experience, perspectives and ideas indicated in the multiplicity of media, techniques and natural forms. In my own rhizomatic, visual language, I try to ceaselessly establish connections between semiotic chains, offering an idiosyncratic perspective on a conceptual totality. 

In the studio I haptically pick up the materials around me, adding pencil, pastel, bark, charcoal, carbon paper, and more, and play with the effects of the marks they make,  exploring how they react together. In this process, I am searching for the texture of the organic; the interaction of the materials on the painted surface dictates the direction in which I take the work. There is a tension between depicting the organic and playing with mark making and my paintings form between the two. For all the deliberately nebulous conceptual content, the work remains strongly rooted in the material of the organic. Natural features of the landscapes, branches, textures and details are all discoverable in the completed works.  

The making process acts as a surrogate for natural processes. The paintings combine representational perspectives of those processes in both the micro and the macro, the cartographic, landscape and botanical drawing, but further, the process of painting is a recreation of the natural processes that originally produced the subject, and integrates it with the experience of walking through the landscape. The work becomes a coalescence of these various aspects through its inherent interconnectedness of the physical, conceptual, and productive modes.