These works were exhibited at the Vanishing Point gallery in early 2010 and signal an ongoing preoccupation with the conceptual and expressive qualities of image making.








A drawing of a line, 2004, pencil on paper, 148mm x 210mm, Private collection, Sydney

A semantic topography






A line, 2005, ink on paper, 148mm x 210mm







Becoming, 2004, acrylic on canvas, 200mm x 250mm







Thoughts of Sorts, 2004, acrylic on canvas, 400mm x 600mm

I take a line and change it from a one-dimensional entity to two- and three-dimensional states. I give it the appearance of an organic being - the spacing of its twists and turns suggest a self awareness and an a priori presence. The line is a loop further suggesting an enclosed circuit. Instead of being traceable to the artist by conventions such as brushstrokes, I employ the chemistry of paint itself — surface tension, fluidity, evaporation, viscosity, opacity and transparency, gloss and matt surfaces to suggest an existence independent of the viewer.







Remembering and Forgetting, 2005, ink on paper, 100mm x 150mm

A drawing about the possible shapes of loss and retention.







Three Streams of Consciousness, 2005, oil and acrylic on canvas, 400mm x 500mm

Structure and chaos; stasis and movement







A Vantage Point, 2009, acrylic on canvas, 600mm x 900mm, Private collection, Sydney

This work uses a linear structure to imply a 3 dimensional landscape space. Within this space float amorphous, indefinable entities which react optically with the linework. This resultant optical flicker is suggestive of an aura, and overall there is a sense of balance and of beauty, in spite of the irregularlty of the elements. There can be an awareness of the shift between the abstract and the representational as a dialectic, also alluded to in the title.





The Path, 2008, oil and acrylic on canvas, 300mm x 400mm, Private collection, Sydney

This work is inspired by a pool of water on a bush track, and juxtaposes flat and recessive pictorial spaces. It creates a transitional space where the viewer moves between one and the other. It foregrounds the material qualities of the paint, particularly the lensing effect of the transparent media suggesting the metaphor of the looking glass.







Indeterminant Object, 2008, oil and acrylic on canvas, 400 x 500mm, Private collection, Sydney

The object's presence is conventionally implied by its shadow, which here is merely a shape made from a line.
This painting challenges the viewer to define one by the other.







Two Views, 2008, oil and acrylic on canvas, 200mm x 250mm, Private collection, Sydney

The idea that the mind will understand these topographies as separate entities, but also try to stitch them together as one landscape





Two Views, 2009, oil and acrylic on canvas, 200mm x 250mm>




On the Forest Road, 2009, oil and acrylic on canvas, 300mm x 400mm, Private collection, Sydney

This painting continues a theme which juxtaposes flat and recessive pictorial spaces.
The title conflates the twists and turns of a country road with the torsion in the paints surface.







Pastorale 2, 2009, oil and acrylic on canvas, 400mm x 500mm, Private collection, Sydney

This painting suggests multiple subject positions where the viewer is within and outside the pictorial space. Creating a context where flat and volumetric spaces intersect, this landscape is anything but bucolic. For all this the work captures a sense of immersion in the sublime.



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