Your work uses various found material such as outdated magazines and books relating to Australian culture. Where do you source these materials, and how do you go about turning them into new narratives?
I find them any way I can, in second hand stores, I buy them online and I also use image databases. I then draw comparisons between images through palette, scale and subject. The process is intuitive and each work informs the following, so changes and inclusions in subject matter happen gradually. The same can be said for process, to me change is important but I try not to force anything.
Tell us a bit about your new series for Sunday Salon. Where did the inspiration come from and what was the process like?
The series for Sunday Salon was built around the two paper collages, utilising the palette and compositions to inform the paintings.
You have explored the still life motif through your work for many years. Tell us about this ongoing fascination?
The still life motif reflects my interest in objects — a printed image may depict an object but it is also an object within itself with recto and verso. The same can be said for a painting, I think about a canvas's edge or frame as much as the painting itself. From an art historical point of view there is so much that a painting of a vase of flowers can say, it has come to encompass many narratives and symbolic definitions. To me it demonstrates the power of pictures — the fact I am able to build my practice around this concept shows that the still life has more to offer us yet.
What is your earliest art memory?
My grandfather on my father's side was an amatuer landscape painter. I would visit as a kid and he would be under the house painting from old calendar and newspaper clippings. He made some beautiful paintings. As I grew older we were able to share our love of art, it is something I am truly thankful for.
Tell us about your favourite artwork currently on Sunday Salon and why?