I am influenced greatly by the pristine pureness of certain Chinese artists, mostly the sung period, and the methodology of the Australian aboriginal artist; where artists place surfaces horizontally on the floor or on their laps and make visible their “story”, or narrative. This can be their creation narrative; that which they are entrusted and must pass on in order that the next generation may survive and thrive, or it can be more personal, relating to their relationship and interaction with nature, the community or their family. I feel a similar urgency, and draw from the philosophies and methods of both. When I'm working I work by laying the support (paper, board etc) flat and work intuitively, often in extreme conditions, like in the desert (in it and surrounded by it) in inclement weather conditions and also from memory. To do this I begin by meditating and proceed as the impulses come to me, making mark or texture, notation or tone, as I feel I am called to make. I work until the motif feels alive, as though it has breath, and its story, the story within the land, an environment or place, is known to me through the act of drawing.