About me.

When I was a child, I built a museum under our neighbour’s house using found objects that fascinated me and my friends. Art class at school was often where those of us who didn’t quite fit in were sent, sharing space with the possums that half-slept through holes in the ceiling. I started art school, but circumstances led me to change paths, earning a degree in Art History instead. That decision opened the door to my first role as a curator, and later, I became a director of regional public art galleries. My work was driven by a commitment to bring art to the regions and support regional artists.

Life, however, had other plans. I found my way into radio and then into the environmental sector, working as a CEO and leading community engagement across three jurisdictions. Despite these shifts, art never left me. Now, I’ve returned to painting, revisiting my roots and making sense of where I’ve been, both artistically and personally.

My work explores the landscapes of Tasmania, an experiment with its distinctive blue light and the dark, prehistoric moodiness that lingers over its hills and waterways. I’m drawn to the everydayness of the landscape, a bend in the road, a cloud at night, or a small piece of bush—moments that resist the grand narratives often assigned to Tasmanian wilderness.

My influences range from Turner’s mastery of light and atmosphere through artists such as Ivor Hitchens, Clarice Beckett, Brett Whitely and my friend and artist collaborator the late  to William J. Young’s imagined depictions of the land. As circumstance and curiosity dictate, I find myself blending traditional and contemporary approaches, working to capture the essential ‘thinginess’ of what I see.

Every painting is a conversation with the landscape and my own experience, a process of understanding place, memory, and the quiet significance of the everyday.