I am fascinated by the collision of movement and drawing, and the art movement of biomorphism. I am also intrigued by the female artists from the turn of the century whose work was process driven and sat at the edge of theosophy, mediumship and spiritism. Artists such as Hilma af Klint, Georginia Houghton, Agnes Pelton, Emma Kunz, Madge Gill have all made an impact on my current explorations.

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My daily art practice is steeped in automatism.I use this approach as a way to connect to the subconscious and to remove my thinking self from the equation. I try to create a framework of actions that I have to undertake without the context of a finished work. I have several modalities I play with but my favourite of these is what I call 'dancing the trees'. It involves wandering in the paddocks, choosing a tree, responding in movement to its form, weight, texture, line, and energy, filming this process and using the resulting movements as inspiration for mark making in my studio.

 

These intuitive drawings are random squiggles at first but hidden forms are unearthed. Using an eraser, charcoal, or burnt driftwood, these marks become drawings in of themselves. Organic shapes arrive, energy pathways emerge, each a surprise to me as the maker, but still retaining the essence of the tree and the dance that inspired them. I see the drawings of Loci as messages from the collective unconscious, not necessarily as 'great art' but as honest pieces of communication, a notation of a language I am yet to decode.