Tell us something about the place, or places, where you live now or have lived recently. I live in Prahran, where I have my studio as well, but have traveled extensively over the last ten years to more than 40 countries. My special interest is the Middle East with its rich culture, amazing architecture and wonderful people.

Three of your favourite things: Paper. Ink. Ox tail stew.

How do you describe your work? I am primarily a printmaker who works figuratively - mainly because that is the art that appeals to me most. And as one of my tutors once said, 'make the thing you want to look at'. The main themes are people, places and things, though these swing around a fair bit. In any year I have several series on the go - some self-contained, others picked up and put down over several years.

Tell us about the materials and methods, or tools and techniques, you use to create your work. Is the process as important, for you, as the finished product? Printmaking is strongly bound to materials and process. I generally work from copper plates for their beauty, subtlety and resilience. The techniques I use have not much changed in 500 years - which is something of a relief in this novelty obsessed world. Because of this I always try to make the technical aspects of the work transparent. It is what the finished image communicates that matters most, and the methods used to arrive at it should sit invisibly beneath the surface. In 10 or 20 years no one will give a damn about the processes and will simply say, 'does the image work?' And does it?

What sort of a role does the man-made landscape play in your art? The man-made landscape is the central theme in my work, whether that is through cityscapes, street scenes, or the strange perspectives you get from high above the metropolis. When I travel it is primarily to cities and urban centres, and recording and interpreting the spaces we build around ourselves is the largest part of my current work.

What other themes or ideas drive you as an artist? I like people and the things they make, especially the things they made a long, long time ago. There is a simplicity and power in Neolithic art, and surprising connections between civilisations, styles, and techniques.

How have you arrived at where you are now as an artist? Tell us about your experiences working as an archaeological, courtroom, and scientific illustrator. Trial and error! The forays into archaeological, courtroom, and scientific illustration were taken as a way of exploring places in the world where drawing is still valued in a serious, practical way, and not one prone to fashion or gimmick. When you are drawing a pot fragment or a sea creature the only criteria is accuracy. I have also been given a lot of support for my printmaking and this has gradually expanded to form the main part of my practice.

Do you have a highlight of your creative life you'd like to share? Travel continues to be the highlight, with the last Artist in Residency/ Visiting Faculty in Pakistan probably being the best. It was an amazing experience to be immersed in such a rich and dynamic culture and to study and work among local artists, students and the people of Lahore.

What's next for you and your art? Any projects, exhibitions, publications, gigs or collaborations you can tell us about? After three years of extensive travel I am aiming to spend this year in Australia, exhibiting in Melbourne and Canberra and working on a new series based on my recently completed residency in Pakistan at Beaconhouse National University in Lahore. 'Six Ply' opens at Megalo Studio Canberra on April 17 and features works from the 2007 printmaker in residence program. 'Under a Jaguar Sun', prints inspired by travels in Mexico, opens on May 22 at Impressions on Paper Gallery, Canberra. Other exhibitions this year include 'Masks' at Angela Robarts-Bird Gallery in July and 'Sur' at Dickerson Gallery Melbourne in November.