Lawson Trig 1

From my 'Trig Point' series. Like its sibling, Lawson Trig Point, in this painting I was playing with a strongly contrasting ground as a counterpoint to the simplicity of the mostly green foreground.
I liked the way that I could see Black Mountain from this viewpoint as I am often putting views of Black Mountain (Canberra) in my paintings as a signifier of place and location.
There is a long history of this in art dating back to Japanese artist Hokusai’s 36 views of Mt Fuji, where Mt Fuji is depicted from different locations and in different seasons. Hokusai also inspired the French Impressionists. Riverie’s 36 Views of the Eiffel Tower.
Therefore it seems both fitting and comfortingly silly that Tower and Mountain are combined in the context of Canberra and in many of my paintings. Black Mountain Tower is now an endearing icon from an era where we thought putting a lump of concrete on a hill would make us at least feel superior to the world around.

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I am an artist who has run an e-bike business from home for the past 15 years while raising three children and loves most things about living in the “People’s Republic of O’connor” (Inner North, Canberra). I graduated with an MBA (Strategic Operations Management) from Charles Stuart University a long time ago and a BA in Visual Arts (Painting) from the Australian National University a very, very, long, long time ago.
There are a couple of underlying, reoccurring and interrelated themes that inform my art practice and bubble to the surface of my paintings (both implicitly or explicitly) from time to time.
The first of these themes is the idea of ‘desire lines’. In urban and transport planning ‘desire lines’ refer to the unofficial paths that collective feet make through the landscape over time. These well-trodden paths are both subversive, being illicit, and conversely, the path of least resistance. Desire Lines are paths that form themselves and are evidence of both humanity and the impact of humans in the environment.
Secondly, I use the landscape, and elements within the landscape, to explore what I’m thinking about ‘in the moment’. The moment (or muse) can include an emotion or idea, such as gratitude to a friend or joy in life’s journey.
Often, the inspiration for a painting, is a personal reaction to the zeitgeist and current bigger picture concerns.
A third related theme is an interest in, and love of exercise, and being outdoors.
Finally related to all of the above, it's impossible to paint landscapes, or places or people (in fact anything) without having some awareness in and reaction to climate change and our role in it, so as inferred above, this is also a frequently occurring theme throughout my paintings. I hope my paintings inspire others to actively explore the world around them, as well as their relationship to it.