RETURNING, 1996 - 1997

When I began the experiment with kiln-fired glass pigments on clear glass panels in Sydney, I had not anticipated the extent to which this work would lead to a re-think and expansion of my approach to colour media and image construction, influencing all subsequent work with colour imagery.

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During winter in New Zealand with artist residencies, I was starkly reminded of ways that local light influences colour perception after years of exploring colour interactivity in the warm, embracing light of Eastern Australia. I am acknowledging that sometimes great distance in time and place exists between sensing and knowing colours for painting, an encircling that leads to renewal.