I am instinctively attracted to the minute and unexpected details in the chaotic and accidental visual language of my bush landscape. The suite of 5 works in She-oak Fall uses light to catch the embossed forms with shadows giving shape to the invisible breeze. A bronze branch hovers above casting its shadow, drawing in the space between. The works require the viewer to look closely at the paper to discover the subtle matrix of marks, inviting a curiosity to interpret and observe the subtle details in familiar bush detritus. In the same way the cursive shapes of peeled bark encircling the bronze vessels suggests a gestural calligraphy and an implied poetic narrative.