My early prints are nearly all etchings and aquatints. Most of my works now are monotypes although I do occasionally explore drypoint, carborundum and collagraph. I usually get my inspiration from the beauty I see around me, whether it be in nature or in the built environment. Very often this happens when I'm on holiday and go image-hunting with my trusty camera. Recently, though, I've been doing more exploration of urban and coastal scenes in and around Sydney.

The images I like to track down usually feature a dramatic interplay of light and shade. For this reason I love that 'magic hour' of the day when the evening light is fading and shapes become more like silhouettes. I also love the stark shadows cast by street lamps at night. The dark field monotype printmaking technique lends itself to this sort of subject matter. In many ways the process is just like painting - except I work in ink, in reverse and I never really know what I'm going to get until the paper comes through the press. With monotypes, you only get one go at it and so every print is a one-off.