The work I create centres around the relationship between humans and animals. Animals are fascinating. I watch different birds in the back yard and know their habits. The black bird runs with his head down and then stops and stares from the corner of his eye before darting out of sight. He turns territorial in late spring and sits on top of the roof singing at the setting sun.
Respect for animals flows on into my art because I feel their spirits are sacred and I want to try and capture some of this in a drawing. There is an unflawed emotion, a purity there in the eye that emanates from deep in the soul of a creature. Humans get it when they fall in love. When I watched the documentary on the live cattle trade in Indonesia and saw how the animals were slaughtered, my response was to go and do art. I needed to turn the horror I had seen into something hopeful and beautiful.
I experiment with a range of media, from enamel house paint to gouache, fineliner and marker. Collage has become part of my work practice and I scour old National Geographics, science and gardening books for images that may introduce a tense or harmonious interplay between the figures within the work.
Loading my eyes with unfamiliar landscapes helps me to keep my eyes new. Like taking a walk down a street you have never walked before. You see more; you take more in, which in turn promotes new ideas. To start a new art work I need to literally gorge myself on images from magazines and books until I find the hook, the starting point. From there, once the first character has been drawn the work takes over and I try not to over think it.