1) On your homepage you are described as enquiring into the 'spiritual traditions of the Orient' - which traditions are these specifically? And how do these investigation manifest themselves in your work?
I was once a devotee of the spiritual Master OSHO who has now passed. His teachings embraced many Oriental mysteries including various branches of Buddhism (especially Zen) and the Sufi mystics. He devised many meditation techniques himself and made extensive commentaries on many Masters down the ages.
Throughout the two year period of research which has culminated in this exhibition, I have been brought to a daily contemplation of mortality. Some of my fear of death, in the process, has transformed into insight. I am now more relaxed about that mysterious dimension of existence.
A decade of claymaking has culminated in these wall images which carry my impressions of surrounding land. Long After.... refers to the period that has elapsed since the forming process began.
Over the last 18 months I have been developing a new ceramic idiom: panels which relate to the vast tradition of Australian landscape and whose form was partly inspired by oriental folding screens. My first inspiration was the landscape close to where I live – the volcanic basin around Mount Warning (Wollumbin) and the mountain itself.
I work in a landscape modality exploring connection and interdependencies. I am also interested in the particular power of unique places and like to contemplate why this has come about. The role of geological history is strong in my scheme.