2015
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.

2017
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.

2018
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?

2019
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.

2013
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. 

2013
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? 

2013
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. 

2013
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. 

2005
Dwell 24/7 initiative in conjunction with Domain 2005, a temporary public art project. Parliamentary Zone, Canberra, ACT

2005
A thirty five metre long, black fence made from capped star pickets that ran diagonally across Constitution Park bisecting the park.

2005
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.

2005
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.

2004 
[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.

2004
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.

2004 
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. 

2004 
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.