Jane’s major methodology uses 400 - 640gsm paper, flooded with liquid ink and pigment in varying concentrations upon foundational scratches and lines produced with long, sharpened bamboo rods. These works are supported by her secondary practice in watercolour and lithography. Hundreds of prints and drawings inform my larger works. For the past two years these have included Jane’s studio research into the work of ‘Dear Kate’, Catherine Penwarne Mitchell. The major methodology supports my 2022 - 2026 PhD candidature at The University of Tasmania.

During Jane’s 2016-20 Furneaux project, and a Poatina residency she engaged communities with my production and resulting exhibitions, including the publication by Forty South Publishing of my book, I Shed My Skin a Furneaux Islands Story. In the RANT - Arts Tasmania funded Furneaux and Poatina projects, Jane’s workshops adapted to each community. She shared her practice and the results in exhibitions in those environments. jane organized conversations with locals to share their learning, during en plein air landscape painting and drawing, interior and portraiture drawing, analogue photography, life drawing and evening theory discussions alongside the sharing of family meals. The Furneaux community invited Jane back to teach. Jane shares her experience and knowledge, and in return she carres their experiences back to my studios.

Travel associated with any of her projects, undertaken in her 4WD and along gravel country roads is a joy. As a 1970s child Jane was driven all over western New South Wales by her father, listening to his conversations with landowners. Driving and travel and conversations over meals, within landscapes and communities, have remained vital to Jane’s understanding of place and development of her practice. Jane studio production is perpetually supported by the stories sourced from the realities of suburban and rural life.