Artist’s Statement

I drew and painted as a child in Germany, but it was during a three-year photography apprenticeship that I really learned to look. I awoke to the magic of light and the way in which it transforms shape and colour. I became tuned in to capturing the moment, and learned to appreciate that even the dullest of days and the most ordinary objects can be a source of beauty and transformation. Eventually I wanted to capture that wonder on canvas and began my painting journey. Physiotherapy gave me a good understanding of human anatomy to draw people. Retiring from my physiotherapy practice has given me the opportunity to devote myself energetically to the life of an artist.
I have always been a ‘maker’. As a child I learned carpentry skills from my father and continue to enjoy making furniture and take a pride in making my own picture frames. 
I trained and worked as a pilot which gives me a particular slant on landscape. Features can become small dots or take on a more significant perspective. A training pilot needs courage and I’m reminded of that when I push myself to take risks with my artwork. I have always been open to the new and the novel.




I don’t confine myself to a particular style or subject matter but enjoy the cross fertilisation which occurs when I move between Realism and Impressionism, landscape and still life. Flowers continue to inspire me. Sometimes I like to push the colour pallet to increase the vibrancy and colour saturation. 
An artist always depends on the influences of great masters. Monet was an early influence and I love Van Gogh’s pronounced brushstrokes and his use of yellow (his happy colour). Hans Heysen’s knobbly gumtrees are a delight, but my favourite Henson is ‘Sewing, the Artist’s Wife’ - it radiates a sense of calm. Contemporary artists who have influenced my practice include American Artist, Erin Hanson. Hanson uses impasto brushstrokes to create movement. Her use of colour has the impact of lead light or mosaic.