Artworks created range from pyschogeographic installations, interventions and video to smaller drawings and objects. These reference human responses to natural environments and manufactured objects. Landscape references have given way to found books and maps but a deep concern for the surrounding environment is persisting in new work. Sculptures, videos and drawings are often made in the process of realising larger projects, extending to any materials found of interest. Objects impart their own potencies to each work, from multiple ready-made star pickets to live grasses and mud, each of which lend the weight of differently accrued histories.
M16 Artspace. Drawing exhibition. Canberra
On a road map provided by cartographers and intended to aid travellers navigating across Australia the information is obliterated through inking out or “wite-outing” all alpha and numerical characters. As hand-drawn marks overlaid the printed characters I reflected on whether locations would still be discernible by the shape of the land mass, or perhaps the scale of the location markers. What remains after defacement leaves the map reader to navigate the island continent’s shape unaided by conventional clues and perhaps ponder the loss of hither-to common knowledge.
Still Salon exhibition. Sawtell
The toxic garden escapee, Gloriosa superba, has been successful in colonising coastal
swales - the seeds and pods pickled here being picked at nearby Tuckers Rock. On dune-care mornings, while hand-pulling the deadly, invasive weed, sombre thoughts arose of grim poisoning massacres, such as those which have occurred in Australia’s colonial past. Between first bottling and readiness to exhibit, the process has transpired to capture those thoughts in time.
Chutespace. Installation. Canberra
A Library book is transformed into an Artwork when it is returned in a wilfully damaged state. With lines drawn systematically through print, the meaning of the text is obliterated. Following the defacement, pages are cut, joined, emerging in a chaotic tangle. With a twist on earlier exhibition, 245 |aObliterate I, 2016, Damaged Item Returned tests once more, society’s attachment to the printed word in libraries. A delicate confusion arises – “Damaged Item” or Artwork? – “Return Chute” or Gallery?
New Year New Work exhibition. Coffs Harbour Regional Gallery
New logging rules (Integrated Forestry Operations Approval - IFOA) drastically weaken and remove numerous protections for NSW's threatened species.
This work focuses on the loss of those protections and the resulting loss of habitat for the endangered Purple Spotted Gudgeon which lives in the streams of the Gladstone State Forest near Bellingen. To realise the concept I collected offending mud and silt from a stream in this forest and incorporated former legislation, redacted.
The beginning of an entire book systematically obliterated by hand is the subject of video 245 |aObliterate I. Whilst working inside a library, it was evident that many people were experiencing anxiety and distress at the disappearance of so many printed books from library shelves.
As partnerships between libraries and Google steadily digitise entire print collections.
this series was made in response to these concerns. Exploring emotional responses towards the devaluing of the book format in a material sense, - or the implications of an indifferent response.
Made in response to these concerns. The book featured in the video was one discovered after a cull by an academic library. Through the action of mark-making the entire text was obliterated as a means to explore my own reaction and the reaction of others.
037 |bJournal of Human Stress, 4000 Albemarle St., N.W., Washington, DC 20016
Fall 1985, pp118-124.
Individual artworks, each a form of obliteration executed with steadfast deliberation, accompany the video in the exhibition.
Urunga Literary Institute Hall
Experimention with culled library books as physical entities led to this work. Often responsible for imparting knowledge and recording centuries of passing of events: from the private and intimate to the grand and noble books have had the capacity to touch our souls and reach our hearts. Once revered, sometimes venerated; physically humble but an elegantly designed format, the book has evolved over centuries to carry the inks configured into human languages.
Under challenge from electronic formats libraries are culling books at what some have considered an alarming rate.
If there is a sense of loss, what is the source of loss?
Our hands are a part of the body we use extensively and are highly sensitive to touch. The haptic experience of holding a book may be central to our deep attachment to the traditional book format. The book has been carefully created to sit well in our hands. The clothbound hardback provides tactile connection, collecting our bodily perspiration and oils. In this project the participant is confronted with the prospect of replacing the accustomed handheld connection with that of the stepping foot. To walk on may represent disrespect or disregard.
When obtaining the books for this project library staff nostalgically shared with me how carefully they had considered the binding colours for individual journal titles, - attempting to choose a colour which would convey to the borrower a sense of the subject matter held within.
The scent of paper and a particular glue which was first discovered as a child at Northcote Public Library, Auckland in a favourite children’s story book, if encountered today, this olfactory experience will still evoke for me a deep connection to that time and place.
Dwell 24/7 initiative in conjunction with Domain 2005, a temporary public art project. Parliamentary Zone, Canberra, ACT
A thirty five metre long, black fence made from capped star pickets that ran diagonally across Constitution Park bisecting the park.
Boundary, limits, ... That which serves to indicate the limits of anything. Based on the concept of separation, and issues surrounding movement-restricted, Boundary explores emotional impactcaused by physical barriers which force beings to remain in one place.
The boundary segment may evoke a regional landscape where charred saplings and fences cast long shadows. However, spaced in an impenetrably dense alignment, the posts may also allude to imprisoning bars, - echoes of a protectionist and penal past, - and today - the inhumane policies of detainment.
[OUT OF GALLERY] Art Park: Environment and Ecology in Art.
Intervention in public spaces. Blacktown, Sydney.
Blacktown Workers Club car park, Levels 5 & 6.
Wallaby grass, Danthonia setacea cutouts on level 6
Kangaroo grass, Themeda australis cutouts on level 5.
Through the process of urbanisation tons of concrete and asphalt have buried vast grasslands causing the near extinction of some grass species. Urban development has led to bleak landscapes of impervious surfaces creating environmental and social damage.
Emus and kangaroos which relied on these indigenous grasses, once grazed the abundantly vegetated Cumberland Plain Woodland. As part of the ecosystem, seed-heads not only provided food for the prolific wildlife but in turn contributed to the rich cultural and spiritual heritage of the Dharug people.
In the tradition of the graffiti artist, my response here is to strike at hard inanimate surfaces in the Blacktown cityscape. Targeting inhospitable car park spaces, the emergent grass and seed-head forms challenge the dominant urban constructs.
2004 - 2005
Thursday Plantation East Coast Sculpture Show, Ballina NSW.
2004 - 2005
Through making lines in the landscape I was particularly interested in the psychogeography at play where two lines meet at right angles to each other.
2004 - 2005
Does the subconscious or consciousness register the transition? Where the cattle cross a fence line when passing through a farm gate. Where a path intersects a road, fence, wall.
2004 - 2005
Over a hot, dry summer planted kangaroo grass, the evidence of passing through fades.
Selected individual exhibitions and installations
2018 Damaged Item Returned. Chutespace. Canberra. Installation.
2016 245 |aObliterate. M16 ArtSpace, Canberra. Exhibition.
2014 Crossing Snow. Mitte, Berlin. Park intervention.
2013 Bibliovia. Literary Institute Hall, Urunga NSW. Installation
2012 Blocking Burdett Bridge. Burdett Bridge, Bellingen NSW. Intervention.
2005 Aotearoa Landing. Regard Gallery, Sydney. Exhibition.
1989 Once. University of Newcastle, NSW. Installation.
1988 Exhibition, Manning Regional Art Gallery NSW.
1984 40 Bales. Little Maidment Theatre, Auckland, New Zealand. Installation.
Selected Group Exhibitions
2019 New Year New Work, Coffs Harbour Regional Gallery, Coffs Harbour.
2017 Still Salon, Sawtell. Preserve of the Gloriosa Superba.
2015 Drawing prize exhibition, M16, Canberra. Navigate I.
2014 Drawing prize exhibition, M16, Canberra. Obliterate I [the artefact].
2005 Domain 2005: a temporary public art project, Parliamentary Zone, Canberra, ACT. Boundary.
2005 Postcard Show 2005. Linden Centre for Contemporary Art, Melbourne.
2004 [OUT OF GALLERY] Art Park: Environment and Ecology in Art.
Intervention in public spaces. Blacktown, Sydney. Ghost Grazelands.
2004 - 2005 Thursday Plantation East Coast Sculpture Show, Ballina NSW. Installation.
Star Picket Crossing.
2003 Aquaculture exhibition. Town Green, Port Macquarie NSW.
2002 Manning Regional Art Gallery. Exhibition. Surface.
1989 Sculpture and Drawing, Conference Rooms, University of Newcastle.
1985 - 86 Youth Express exhibition, touring Auckland and regional galleries North Island,
1985 Bachelor of Fine Arts, University of Auckland, New Zealand.
1987 Diploma of Information Management – Librarianship, University of New South Wales.
Walkom Manning Art Prize, 3rd prize sculpture. Wild Funnel.
2005 ANU School of Art 2005, Domain; a temporary public art project.
2004 [Out of Gallery]: a series of guerrilla exhibitions in Western Sydney. Postwest No.19.
Special edition. ISSN 1323 1499.
1985 Artists’ books collection. University of Auckland Fine Arts Library.