Virtue

An oil painted diptych on 2 panels of a replicated portrait

I remember

Oil painting in 15 panels that was part of an exhibition at Metro Gallery, Malvern. The exhibition consisted of 10 Australian artists contributing to the theme of Climate change.

In the morning

Oil painting exhibited as part of a group exhibition. Exhibition was titled 'From Realism to Nihilism' and was of works by the Shakespeare Grove Artists. It was curated by Kirsten Rann.

Riviere

'Riviere' (2012) was created in response to the painting 'Man in a Green Coat' (1998) by Kylie Wren, held in the Deakin University Art Collection. This artistic response was produced for the Face to Face Exhibition held at Deakin University Art Gallery.

Dreamweavers

Dreamweavers is a touring show Curated by Simon Gregg at the Gippsland Regional Gallery, touring Nationally from 2011 until April 2013.

The exhibition explores the contemporary preoccupation for the Fantastic through a range of national and international art practices, that are united by an enduring fascination with darkness and dark places. Dreamweavers is a multi-sensory experience that is more like entering another world than an art exhibition. It combines sculpture, digital media, photography and painting, in an intoxicating visual feast.

Dreamweavers features the work of six artists. James Gleeson (1915-2008) was Australia’s pre-eminent Surrealist, and one of the country’s most acclaimed twentieth century artists. In his work massive, heaving and largely unidentifiable forms meld with apocalyptic skies and earth in twisted biomorphic shapes.

RGB Wattle Park chalet

New technologies have arguably displaced the hegemony of painting within the hierarchies of contemporary art. Projectors and other digital imaging technologies in particular continue to expand the contemporary artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting - the practice of smearing coloured mud about - far from being superseded, simply continues to cannibalise these powerful technologies extruding them into its own analogue processes. Whether intentionally or as an by-product of this cannibalisation, painting tends to create a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made fully visible. Of course 'easel' painting practices persist not only to critique new technologies. Rather new technologies inevitably fold back into the now souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display.

YGR Fontainebleau

New technologies have arguably displaced the hegemony of painting in the hierarchies of contemporary art. Projectors and other digital imaging tools in particular continue to expand the artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting, (the practice of smearing coloured mud about) far from being marginalised, simply continues to cannibalise these new technologies extruding them into its own analogue processes. Whether intentionally or as a by-product of this cannibalisation, painting creates a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made fully visible. Of course ‘traditional’ easel painting practices persist not just to critique new technologies. Digital imaging technologies inevitably feed back into the souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display. The work for this project explores the ways in which projection and virtual geographical mapping invite new configurations for the practice of landscape painting.

YGR Warrandyte

New technologies have arguably displaced the hegemony of painting in the hierarchies of contemporary art. Projectors and other digital imaging tools in particular continue to expand the artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting, (the practice of smearing coloured mud about) far from being marginalised, simply continues to cannibalise these new technologies extruding them into its own analogue processes. Whether intentionally or as an by-product of this cannibalisation, painting creates a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made visible. Of course ‘traditional’ easel painting practices persist not just to critique new technologies. Digital imaging technologies inevitably feed back into the souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display. The work for this project explores the ways in which projection and virtual geographical mapping invite new configurations for the practice of landscape painting.

Better off dead? Prices realised for Australian paintings sold at auction

Using auction sales data on Australian paintings over the period 1995 and 2003 we investigate the relationship between artists‟ living status and the price of paintings sold at auction. For deceased artists we consider the time since their death and for living artists their conditional life expectancy. Hedonic regression analysis is applied separately to the data on Indigenous and non-Indigenous paintings. Comparing the modelling results across Indigenous and non-Indigenous paintings we see evidence of two different patterns of response to an artist‟s living status. Both yield non-linear impacts but for Indigenous paintings these are quadratic and for non-Indigenous they are quartic. Thus the response to living status in the more recent market for Indigenous paintings is different to the more established market for non-Indigenous paintings. Whilst the responses differ for the two types of paintings, in answer to the question posed and in terms of the price of a painting at auction an artist is better off long dead or close to death.

Sublime: process and mediation

The Sublime: Process and Mediation expounds on the concept of a 'Material Sublime' as relevant to the development of artistic practice. The author maintains that the creative process is generative, highlighting the connection between nature, the body, and latent forms of knowledge as revealed through material interaction significant in the activity of painting.  She argues for a co-emergence maintaining the sublime experience traverses a liminal space wherein binary oppositions such as the distinction between mind and matter are negotiated.   

Silent windows

Silent Windows was a major exhibition of Terry Matassoni's paintings and works on paper spanning 23 years. It was held at Maroondah Art Gallery (Ringwood, Melbourne) in 2012.

Racialised bodies encounter the city: 'long grassers' and asylum seekers in Darwin

The visibility of bodies of colour in public space can engender responses of anxiety, insecurity and discomfort in cities with white majority cultures. Such embodied responses that privilege the invisibility of whiteness have effects if they mark Aboriginal people and asylum seekers who arrive by boat as ‘out of place’ in public spaces of Australian cities. Drawing on fieldwork conducted in Darwin, I argue, however, that such white spaces are interrupted by habits of touch, multi-sensory events that contribute to fleshy moments of belonging for these racialised bodies that experience dispossession and displacement. Such belonging emerges from the intertwining fleshiness of bodies in a world where we affect and are affected by other bodies and things.

The paper explores two events held in public spaces of suburban Darwin, a weekly painting activity at a beach reserve that engages ‘Long Grassers’, Aboriginal people who live in open spaces, and a cooking session at a community centre that welcomes asylum-seeker families from a detention centre. Felix Ravaisson's philosophy of habit as virtue and spontaneous practice is a starting point for thinking about how haptic knowledges can provide a nuanced understanding of belonging, encounter and ethical engagement in a racially diverse white settler city.

Subduction

 Solo exhibition of paintings

Threshold

Solo exhibition of paintings

Casella art prize (finalist exhibition)

Pre-selected finalist in national art award (group exhibition)