As an artist I am obsessed with the natural world. I am also deeply troubled by its current condition. Living and making work during the Anthropocene, in a country leading the world in extinction, I often find myself at odds with traditional landscape painting.

My formal art education favoured the works of white European men. As a young artist I learnt about perspective, about the power of the frame. I learnt that the visual world around me could be edited and manipulated, used to tell a particular story while excluding another.

Now that I am middle-aged and (hopefully) mid-career, I sense a great tension between what I see and what I (we all) have been taught to see.

My landscape is drawn from photographs of the Smithton stockyards of Ta Ann, a company that logs native Tasmanian forests. Specifically, it portrays a small section of the 15,000 cubic metres of veneer that was stored improperly and spoiled, rotted from rain. The forest in my landscape is stacked, wrapped in shredded plastic, and cascading in the chaos of being discarded.

The working surface is two sheets of Ta Ann plywood.