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‘Autumn in Berrima’, is a lyrical transformation of landscape into a visionary cartography of inner and outer worlds, a compelling artefact of ecological poetics and mythic abstraction. At once topographical and ecstatic, the work sits at the nexus of contemporary abstraction, and the deep cultural substrate of place. The palette oscillates between verdant greens and earthen reds, overlaid with a pervasive lapis blue, which suffuses the negative space with a spectral serenity. Blue here does not merely denote sky; it is what the German Romantics might call ‘die Blaue Ferne’—a poetic distance imbued with longing. Light seems internalised within the forms, as if the trees are lanterns, glowing with some subterranean knowledge.

Berrima is a highland village rich with colonial and pre-colonial resonance. My title acts as a threshold, grounding the mythic in the real, and inviting us to consider landscape as both a temporal phenomenon and a repository of memory, history, and contested meaning.