Untitled #1 & #2,
2015, coathangers,
fishing rod, flag holder, rack
Criticism, 2013
Overview of "Criticism" show at Firstdraft Gallery, Sydney, May 2013
The Man, Performance Maker and The Sign, all 2013
The Man, 2013, clay, branch, tape and pipe
The Sign, 2013, neon and glass
Formula, 2012
Performance with Glass Plates as Writing Slates, Wooden Stands, Slide Projector and Slides, Whiteboard Markers and a Painting by an unknown artist
Dimensions variable
This work was performed as part of Peloton Gallery's Performance Month #2.
In Formula, I worked through various equations to try and find a mathematical expression of the sentiment in the work Thinking, Not Doing.
Untitled (Southern Window), 2012
Glass, Lead, Wood
234 x 138 x 54cm
Exhibited with (L-R) Alicia Sciberras, Vivian Cooper-Smith, Dara Gill, Helen Poyser and Iakovos Amperidis - unseen out of picture and making noise was the work of Julian Day
Invested Objects, 2009
Plywood, Nuts and Bolts, Pine, Coloured Paper laminated onto Plywood
Invested Objects involves a large plywood construction suspended from the ceiling of the gallery. Its appearance is complete in the sense of being finished and displayed, although in existing only as framework there is a sense of abandonment and perhaps futility. The vacant centre and lack of any cladding on the large frame suggest a greater absence.
Four framed diagrammatic pictures relate to its construction and projected possibilities. The pictures work both in opposition and cooperation with the frame, documenting it in the form of a plan, similar to plans used for building objects such as boats, planes and buildings. At the same time they give a suggestion of what it may have been with cladding, while the works in colour operate in the same sense but operate on a painterly, abstract plane.
 |
| Installation comprised of five components: Large Object, One Against Another I & II, One Against Another In Colour I & II |
Four framed diagrammatic pictures relate to its construction and projected possibilities. The pictures work both in opposition and cooperation with the frame, documenting it in the form of a plan, similar to plans used for building objects such as boats, planes and buildings. At the same time they give a suggestion of what it may have been with cladding, while the works in colour operate in the same sense but operate on a painterly, abstract plane.
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