The pieces in my Bushland series are what I consider fictive topothesias, descriptions of imagined or non-existent places. I have painted them on heavily encrusted, small wooden palettes. I scrape these palettes, then paint on them. My scraping results in randomly colored, often highly textured backgrounds: appropriate metaphors for the seeming chaos and incomprehensibility of the world. It is a process that links me to my early experiences of nature. It returns me to all that beautiful, overwhelming and complex glory. A friend recently described my small landscapes as “organic anarchy”. His phrase accurately describes my attempts to find forms in the seeming chaos of the scraped palettes, my way of entering a sense of nature with amazement and surprise.
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