When I need a change from the intensive observation and concentration of my wildlife work, I turn to Japanese-inspired ink painting. Its spontaneity and freedom allow me to work much more intuitively. The economy of the brushstroke and the importance of what is left unpainted provide a creative counterbalance to my wildlife work and give me space to explore a very different way of making art.

Every artwork is made using traditional East Asian art supplies, from calligraphy brushes and sumi ink to xuan (rice) paper and shikishi panels.