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About the Artist
"Inspired by wildflowers, I produce linocuts that are a tribute to all women who manage to hold on to their essential feminine qualities of caring, creativity, nurturing, joy and ecstasy while they also continue to devise some means of protecting themselves against an environment that is often harsh and hostile. My wildflowers are a celebration of the feminine."
"As a young mother, with four wonderful young, energetic, close-together children, I had become very ill and exhausted. Nothing was replenishing me. At this time I read a book by Joan Campbell, (the successful Western Australian potter). In her book, Joan described how she made a major discovery - the deep urge to be creative. I empathised totally with her story and realised that was exactly what I needed to do for myself. I also attended a powerful and uplifting seminar which reinforced the feeling that I wanted to be an artist. I made a deep commitment to follow my hearts dream - to push away all the inhibitions that my lifestyle perpetuated. I just had to move on and follow my deep intuition - to be creative and to be an artist I was prepared to express myself and to be judged on my work. My strong urge was to do linocut and although I had been good at drawing when I was at school, I had no formal training. With the help and mentorship of Ron Gomboc, Garry Zeck and Philip Cook I went on to produce work for my first show at Gomboc Gallery, in 1990. This was followed by a solo exhibition at Holdsworth Gallery in Sydney in 1996. Later exhibitions followed at Charles Hewitt Gallery in Woollahra."
"The practicalities of making a print begin first of course, with the idea. Then I do a detailed drawing, which I love doing. This is a deeply involving process. Sometimes I will do a detailed drawing, for around three hours, on site. It requires a lot of concentration. Then the drawings are taken back to the studio and I work out a balance of black and white. The creative process involves seeing the total picture."
"Next comes the process where the drawing is traced onto lino. I use a black felt pen and redraw the line in a much thicker and less sensitive manner than the original drawing. It's a process of letting go."
"Cutting out happens next, I use the cutting tools like a paint brush, (these are a speedball and lino cutting tools) when I'm cutting I have to imagine the shape I am creating. Every move is part of creating that shape- selling an idea. It's an arduous task but very satisfying cutting the lino into a particular shape. When that's done to my satisfaction, I print them up."
"I'm a self taught printmaker, I don't have any of the classic cuts you see in woodcuts. I just go with the feel. Because the prints are hand coloured, I tend to cut out more black then if I was making a black and white image."
"Colouring is the next part to creating the
finished print. The strong black and white shapes allow for
strong colour- but even so I like the light to shine through. I
don't like opaque colours, especially when I'm doing sky or air, I
will often do three colours to give a sense of moving through it
rather than being a flat finish. Because my colouring is more
"painterly" than classic print-making, no two of my prints are ever
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Page last updated 28 November, 2011