To date the focus of my work has been an exploration of how art can exemplify the relationship of people with their natural and political landscape. My practice is informed, and inspired by socio-political and natural history, science, anthropology, topography, music and literature. The study of related theories, establishes a conduit which links, and merges theory with the process of visual and material transformation. . My creative process balances investigative study based on research, with in the end, an intuitive response, usually expressed through the act of sculpting or painting. The response to this stimulus has been a life long interest to walk beyond these demarked areas, in search of lands that were once freely walked on by others. I seek traces of their histories, and in particular evidence of the dispossession of cultures and lands. These walks represent a cognitive mapping of the natural landscape. It is a subjective experience, which manifests itself through the physical act of painting and sculpting. I explore ideas involving decay and renewal, chaos and order. I attempt to interpret notions of site, marks of settlement and resting places as metaphors for both space and identity. The materiality of my ceramic work is directly related to my subject: social and natural pattern finding. Ceramic art is a unique cultural activity, often providing archaeologists with information on many aspects of the past, including chronology, trade and technology. My interest in ceramics isn’t primarily sculptural but historical, cultural and social. The forms are frequently organic and spring from an observation of patterns and cycles within the landscapes of my personal journey.