The Far Horizon film explores the notion of looking as far as the eye can see whilst capturing a sense of place and nature in transition. When you sit in front of a landscape and draw or paint it, it is constantly changing and when you return to it, it never really looks the same. I wanted to replicate this transience in the studio using the drawing process and my memory of a particular viewpoint where I live on Yued Noongar Boodjar, just north of Perth on the Brand Highway. Situated at the end of a plateaux, from this point, one can see all the layers of the landscape. Starting with a farm fence in the foreground looking west towards the setting sun. There is remnant bushland, layers of hills and land cleared for farming, power towers going all the way across the plains of more native bushland to the peaks of sand hill near the coastline. I was thinking about the shifting light, and times erosion with the far horizon is the main point of reference but also having a sense of where you are standing, hence a sense of place. The Yued Noongar belief system is based on the connection between the human and spiritual realms. Everything in the landscape has meaning and purpose. Life is a web of interrelations where humans and nature are connected, and the past is always present.
