RECENT Exhibitions

The sculptures I create often embody mathematical principles related to dynamics and topology, as this provides a means of visualising their complexity via CAD. Gravity makes it difficult to use softer mediums, so there is an interesting tension between the ethereal, fluid intention and the often tedious manipulation of rigid metal. In a way, the manual process has become part of the intention and leaves a tangible trace of the tensile forces at work.

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My practice conflates drawing and painting with the act of remembering and hence, my works operate as records and traces of that which has been discarded and forgotten. Drawing heavily on my interest in the historical subject matter of discarded family photographs and ephemera, my most recent paintings seek to tether the fragile existence of their subjects to a tangible place not unlike Antoine de Saint-Exupéry’s asteroids. As I unite my subjects with small offerings of humble ground: quilted landscapes, small planets, bright stars; I seek to reposition these narratives as contemporary portraits of the universal human condition.

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A few years ago my practice went through an important change as, rather than referencing the images of others, I began working from my own photographs. Friends became models and accepted various physical indignities to indulge my story-making impulses. Rich and unexpected things came out of these sessions with the photographs becoming an important part of my work process.

This process matured with the involvement of my wife, Trude. I wanted to dress the models in liminal garments suggesting archaic themes, she responded by making a bonnet of twigs, a corset of cow ribs, a crown of bark, and on fully grasping my intentions she added so much more.

I now see the photographs as works in their own right as, although technically different, thematically they are a continuation of my visual obsessions.

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I am attracted to hidden things: not just things that are well hidden, but things that are more subtly obscured, disguised in plain sight. I like to glean from my everyday observations, taking time to notice the details that prove themselves to be humorous, sly, tricksy and uplifting. I am taking time to paint moments and places that deserve more than a cursory glance, more than passing attention.

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The Illumination works began when I was an artist-in- residence at Hill End in 2010. The archetypal Australian landscape that I encountered was overwhelmingly felt, along with the colonial histories imbued within. My ancestry is strongly connected to this region, dating to pre-1850 when my ancestors arrived to secure pastoral leases on 'uncharted' land. These personal family histories, the broader history of the region and the European idealism projected upon this landscape became the focus of this new work.

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Paper is such a commonplace and pervasive material. We write on it, read it, drink out of it and eat off it, yet in terms of conservation it is considered one of the most fragile of mediums in the art world.

This exhibition is ostensibly concerned with the nature of paper itself; featuring works produced with paper or about paper. Artists include Sally Blake, Chris Bold, Tammie Castles, Bianca Chang, Robin Clare, Tracey Clement, Jan Davis (courtesy grahame galleries + editions), Fiona Edmeades, Todd Fuller, Nicci Haynes, Kaori Kato (courtesy Utopia Art Sydney), Hyun Hee Lee (courtesy Artereal Gallery), Melinda Le Guay, Trudy Moore, Helen Mueller, Al Munro, Mylyn Nguyen, Janet Parker-Smith, Sandra Pitkin, Jenny Pollak, Rochelle Summerfield, Kylie Stillman (courtesy Utopia Art Sydney) and Kayo Yokoyama.

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