The notion of travelling to places of great inspiration in order to discover new experiences to inform ones? art practice is nothing new. What is new is that the camera is now a constant companion along with the journals and drawing books.
The camera offers up an image of the landscape which becomes some kind of surrogate possession of that inspirational moment. Subsequent art practice then becomes a process of give-and- take where the fragments of landscape are altered by the precedence of art history.
I rarely see a fragment of landscape anywhere without seeing other landscapes in other art. It is difficult to view a landscape without visions of places I either desire or despise. In the linear patterns of aerial views are the hypnotic works of Kathleen Petyarre or Turkey Tolson Tjupurrula. The salt plains of Lake Eyre become the broad expressive brush strokes of Franz Kline. Aerial landscapes of the Central Desert are now the still lifes of ribbons and froufrou in the rhinestone of chalcedony. In the colours of Alice Springs lie the palettes of the spiritual resonances of Lascaux and Kata Juta where red mounds protect blue/green and violet. At Uluru the rusting stones and sand become ancient fragments set in red and the complex rural patchwork of the Western Plains merge with Amish Quilts soaked in the richness of simplicity. Somewhere in all these narratives of infinite possibilities I attempt to find my own poetry.