New Incarnation (1-6)
These drawings are set in a sequence whereby a fallen bird re-animates and flies again to freedom.
These works are from the “Road kill” series, which is a visual comment on the expedience and collateral damage inherent in systems based upon economic rationalism.
There are no exceptions, however the intention here is to represent a kind of shamanistic hope in the face of that kind of thinking.
These images are about structures that get old and eventually collapse.
At face value the subject is the ancient weather beaten wooden framework from a shady beach shelter.
Its’ simple lines struck me as stark and sculptural against the clean lines of the sky, the dunes, and the open sea.
It seemed like an enormous character in some mysterious alphabet.
At a deeper level this work is a solemn meditation upon the structures in our lives, loves, and friendships that deteriorate and eventually collapse.
Everything has a beginning and an end.
Drawings for Grey Days/ La Grisaille
This small sketch was made to reference the form of a wooden shelter made from long wooden poles on an isolated beach somewhere on the Dampier Peninsula. I believe the traditional owners came to collect turtle eggs in that place, and would drag canvas or tarpaulins over the structure to provide shelter from the midday sun.
Nobody was present when I visited, but the place struck me like an exclamation mark, and the remnants of cloth blowing like banners in the wind filled me with a not unpleasant melancholy, like the sound of a Cello may do, and reflected the overcast weather and the music of the wind as it passed through that structure.
I made two works based on developing the larger sketches, depicting the changes in the mood as that day passed over and by.
This is an odd work to try to explain or write about, since it concerns more an emotion than a real thing. It is about Brotherhood and is quite masculine in intent, with the three figures, both trees and flames, representing people.
Those figures populate a Universe at the edge of something, and the dark night lies beyond.
There is a stylized cloud and grassy fields on undulating ground, and something is being counted.
Sometimes I like to pick at the edges and pull at the ticking of life’s cushion.
What I mean is to make images that have no particular end point or even perhaps any purpose.
They are usually referred to as “post” and come from exhibition outtakes and “b” sides.
They are images that come from images or the notes from behind more purposeful and considered works.
In these cases the forward momentum is often dictated by the physical quality of the materials used in their production, so in a way paint can be said to dictate progress. It’s a kind of pioneering out on the edge of painterly activity, a place where almost anything can happen
Deception is a large and somewhat tongue in cheek catastrophe of a painting. It was a really fun image to make and contains a whole series of symbols relating to the life we are told we live in and the life we later discover.