Art has always been a legitimate form of self-expression for me. Encouraged by a very artistic mother and surrounded by creative people I began drawing and experimenting with paint from a very early age.
 
As a teenager I drew 'doodles', or abstract patterns that grew of their own accord. Noticing that I felt different after drawing in this manner I kept a diary for a year in which I would draw spontaneously, without any pre-conceived idea of outcome, watching the patterns expand into a design of sorts of its own volition.
 
I realised that the patterns I had produced reflected my emotional being at that time. Searching to expand on this idea my mother introduced me to Carl Jung's ideas about the subconscious mind and his use of Mandalas to access it.
 

I drew my first Mandala at 16. Within this magical circle conflicting parts of my inner world appeared in a workable pattern - like putting fragmented parts of a jigsaw together. The diversity of pattern and design fascinated me - it seemed endless. I have worked with them ever since.
 
After painting a Mandala I felt different, was more settled and had a sense of wellbeing, of achievement, almost a sense of relief that I had been able to express part of myself and that the pattern - the story - was finished and worked inside the circle. There was a definite sense of change - something invisible was now visible. I was impressed by the process.
 
My initial Mandalas were in black and white and then I 'risked' colour.
A whole new field opened up and I felt the effect that colour has in expressing feelings. Colour fascinated me, enchanted me, attracted and repelled me and, finally, colour healed me. I was deeply touched and remain passionate about colour.
 

I began to form a link between all Mandalas and have traveled the World to observe and experience different Mandalas, including the magnificent Rose Window of the Notre Damme Cathedral in France, Stone Henge and Arthur's Round Table in England and Borobudur, Indonesia.
 
As a nurse I left for Northern India to open the Delek Hospital for Tibetan Refugees (which is still in operation). There I saw and studied many diferent art forms and Mandalas, some used in Tibetan medicine.
 
Living with Tibetan people for three years I had a rare glimpse into the connection that religion and art has in their lives. Of particular interest were the big sand Mandalas of the Tibetan Buddhists. Constructed according to strict and traditional guidelines, these detailed, intricate maps are used by the initiate to transverse from one state to another.
 
I have been teaching a form of Mandala art for some years now and am always astounded by the different Mandalas produced by my students. I have not seen two that are the same yet.
 

For my own Mandala painting my great love of nature, for the growing plants and the wonderful creatures that inhabit them, and Nature's intricate details and brilliant colours, have always been a great inspiration. Symbolically this love forms a link between my surrounding world and my life today
 
I live with my husband and four children in the Dandenong Ranges, Victoria, Australia. The family home has extended as we have expanded and is set in a large and beautiful garden which has rock walls and stone pathways meandering throughout. All the while one glimpses views across to the bay. My garden is a great source of creative inspiration and I love to catch the subtle changes of light and the different seasons upon it. Many of my Mandalas begin or end here.
 
I still use Mandalas myself as powerful tools of self-integration
and healing in a busy and often stressful life.