Felicia Finlayson's love of nature permeates her drawings and paintings. She tends to oscillate between " visual impressionism" and gradual states of abstraction. Subjects are drawn from her own inner- city garden and from travels in Australia and Europe. Walking, her preferred mode of moving through a landscape, allows for both close and far looking- a characteristic of Felicia's paintings. Felicia and Marilyn have never been content with simplistic repetitions of motifs and themes. They treat each canvas as a NEW challenge. In this way, they not only keep themselves motivated but create fresh new work, deliberately open to interpretation, for their viewers.
 
Chrissy Stevenson: artist, art educator

​The influence of the 2020 bushfires that were shortly followed by Covid19, caused me to ponder the vulnerability of life and our environment, raising my anxiety levels. At times I felt discombobulated, realising I had no control on either event. I turned to the environment to seek comfort by connecting to the earth and the support it offered – grounding me. 
 
Using the Japanese practice Shinrin yoku - forest bathing – I meditated whilst walking, slowly taking one step after the other into the bushland, breathing in the smells, listening to the sounds whilst observing the surrounds. Initially, I saw my surrounds realistically, however as the practice progressed the details were lost in a blur of colours and shapes. 
 
My paintings during Covid19 lockdown were also more realistic, however with time and by continuing a meditation practice, my works too became simpler and more abstracted. I have represented this observation by exhibiting a mixture of both forms of expression. Whilst forest bathing does not have to be connected to water, I was drawn to water during the practice and it features in most of the paintings. 
 
And, when all else failed, a gin & tonic provided relief.