Informed by the visual delights I get from nature—the narrow, curved form of the Australian eucalyptus leaf; the twists, bends and loops of a wanga wanga vine; the fluid, open spaces between the branches against a clear sky—and armed with the informed observations while intuitively trusting my feelings, each piece is thoughtfully modified through my actions … I steam and bend the myrtle into curves and curls; I sand back the silky oak to a smooth soft pinkish finish; I cut and wedge together the sassafras. Influenced through research into Japanese aesthetics; the modified pieces are then assembled and connected into open and loose organic and geometric structures—I use scarf joins to stitch the strips of myrtle into a long organic line allowing it to move freely; I make mortise and tenon frameworks with the planks of oak allowing them to stand and balance precariously together while defining interior spaces.
To me, my sculptures are like nature but not nature … enigmatic objects that are a personal lyrical presentation of the transience of nature and relationships. Each work is made of individual parts that are autonomous and connected. Each part will react differently under stress, assuming its own form of resistance. The sculptures are inherently sensitive and difficult to support in all stages of making and are patiently worked through imbalances and possible overturning. Completed and in situ the viewer is invited to experience the precariousness and fragility of the relationships before them and see the natural beauty in the transience of life.≈