Much of my work has been concerned with old manuscripts: accounts of voyages of ‘exploration’, multi-volume natural history books, early anatomical texts, and botanical manuscripts. Though I am not exclusively a printmaker, printmaking plays an important role in my practice as it is an artform that is intimately connected to its own historical forms and to that of publishing and the dissemination of knowledge, providing a clear pathway to the concepts, ideologies, and worldviews that have shaped our current ways of inhabiting the world.

Furthermore, I am inclined toward the drawn or hand-formed because of the potential that this manner of recording and communicating has for revealing authorial subjectivities, rooted in the encounter between the inner and outer worlds in which we exist. My work grows out of an interest in how individuals, communities, organisations, and political bodies position themselves within our changing natural environments. It is informed by investigations into scientific thought and the disciplinary history of natural history, as well as by invented concepts such as ‘natural resources’ and ‘wilderness’.