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Dancer by Peter Drewett, 2003 Pyrography on wood, 7 inches by 9-1/2 inches Image courtesy of the artist

Finch by Peter Drewett, 2003 Pyrography on seed pod ornament approximately 3-1/2 inches by 4 inches Image courtesy of the artist

Free Form by Peter Drewett, 2003 Pyrography on wood, 9 inches by 7 inches Image courtesy of the artist

Gecko by Peter Drewett, 2003 Pyrography on wood, 12 inches by 8 inches Image courtesy of Don Webber

Whale by Peter Drewett, 2003 Pyrography and color on flitch, 12 inches by 8 inches Image courtesy of Don Webber

Gourd Maraca, View One by Peter Drewett, 2003 Pyrography on gourd,

Gourd Maraca, View Two by Peter Drewett, 2003 Pyrography on gourd, 7 inches by 3-1/2 inches Images courtesy of the artist

Snake Frame by Peter Drewett, 2003 Pyrography on a type of eucalyptus known as red iron bark wood snake sculptures, framing Aboriginal painting by unknown artist Frame is approximately 3 ft. tall by 1 ft. wide by 1 in. thick Image courtesy of Peter Drewett

Necklace/Percussion Instrument by Peter Drewett, 2003 Pyrography on poinciana seed pod, strung with leather and adorned with coins Image courtesy of the artist

Ladder Frame by Peter Drewett, 2003 Pyrography on wood frame Image courtesy of Peter Drewett

Paddywack, front view by Peter Drewett, 2003	Paddywack, back view by Peter Drewett, 2003
Pyrography on wood sculpture, Images courtesy of Peter Drewett

Unfoundlands, detail by Peter Drewett, 2003 Pyrography on suspended gourds, six gourds ranging in height from 20 to 37 cm. Image courtesy of the artist

After working with wood as an art and functional medium for many years, Australian folk artist Peter Drewett's interest in pyrography as an art form began with a trip to the Northern Territory in Australia. Following are some excerpts from his Artist's Statement:

"While sitting around a campfire in 1999, l saw a piece of wire glowing in the embers and tried burning patterns on a stick. From that crude but inspiring beginning, l started experimenting with different designs and techniques on many organic objects and materials. l didn't have access to the works of others, nor did l source printed references. So after some time, l unconsciously developed my own individual style.

My style evolved simply by my expressing the things l visualise (as one sees images in clouds) and filling in the details of my vision on wood and other materials provided by nature.

The truly wonderful thing that my art form has given me as a person is its power of healing. The patience that is required in the slow process of fine art pyrography takes one's mind off external issues that cloud our everyday existence. Plus, l love to see people who otherwise might be shy of art, respond to the tactile nature of my work, as it often has musical elements as well as visual appeal."

Peter Drewett's story and more examples of his folk art are featured in Pyrograffiti 27 in the January–February 2004 issue of WOM.

The artist was again published in the following issue of Pyrograffiti in a Homage to Joan Kerr dedicated to his mentor after her passing.

In 2007, another Pyrograffiti Peter Drewett: New Directions offered an update on the artist's ever evolving career.

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