The wind whips at my face as I hunker down amongst some sheltering rocks, my skis forming a platform to sit on. My hands are stiff from the cold, but still I continue to draw. I try to capture the austere beauty of a snow gum, twisted and gnarled by years of harsh conditions and snowbound in a drift of snow.

My field drawings are further developed in the studio, in pencil, charcoal and gouache. Surrounding myself with these illustrations, the imagery evolves on the canvas, worked in oils, or else they are transformed into translucent images within the walls of a vessel, wheel thrown in Southern Ice porcelain.

My unique ceramics involve a laborious technique that incorporates shellac resist and deep etching. Each layer is painted with shellac onto the bone dry body, and then carefully the exposed clay is washed away, leaving an etched surface. This is done repeatedly up to create multiple layers. These layers form a sculptural relief and a tonally rendered image when illuminated.

Drawing has recently entered the decoration of vessels, using multiple applications of underglaze pencil.

The raw landscapes and flora of Australia fill me with a consuming emotional response. Capturing some aspect of this has been a common thread in much of my work over the years and in a range of media.