My work over the last thirty years has been a search to discover how we dwell and move within landscape. I have lived and worked all over the continent from the mountains of Tasmania to the floodplains of Arnhem land. I see myself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact I am finding ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place.
I like to think that the large works on paper on which I assemble these different drawing methods represent a kind of inventory or document about the state of the earth. I want to reveal both the energy and beauty of it, as well as show its condition of critical even terminal change. My interest is to paint the processes and energy field of the living systems of this land - flocks of birds, or water plants in swamps, or the movement of sand dunes or the ways in which trees regenerate after fire. In the last few years I have been concentrating on the wetlands of Australia which are threatened by our changing climate and the clearing or ground for industrial farming. These works were exhibited in Heartlands and Headwaters at the National Gallery of Victoria in 2015. I am currently working on a major new body of work with the great Yolŋu artist Mulkun Wirrpanda in which we are both painting the same plant species from our two very different perspectives. The early stages of this project are being shown at Roslyn Oxley9 Gallery from 29 October to 21 November 2015 (Image above: John Wolseley Eliacharis sedge and Nymphaea Lilies 2015 watercolour and plants, 75.0 x 300cms)