Broken record (2026)
News of our climate crisis is stuck on repeat. The weather keeps on breaking records. In the side panels, balconies offer unwanted bushfire vistas through security screens, and the central image shows the tenacious but tenuous regrowth of snow gums. Two decades after the 2003 alpine bushfires, this image celebrates recovery by zooming in to the viewpoint of an insect. (Hopefully, an endangered Bogong moth). Unfamiliar scales and perspectives can unearth our entanglement as a part of nature, not apart from it. If the Romantic sublime expressed awe of the boundless world around us, the contemporary sublime deals with the shock of our planetary overload.
Alfred was here (2025), a cyclone story at the VCA Grad Show, burrows into weather data and borrows from Caspar David Friedrich’s The sea of ice.
Too long; didn’t read. Face to face……I feel your pain (2025) translates the urgency of clickbait into the dry slow tempo of oil paint.
Bucket list (2024), Cartcrash or cartography? The impermanence of borders and nations.
Tourist gets refugee needs (2024), or do they? Double-sided painting of dialectic word pairs.
Polarised (2024), a post-Apocalypse real estate scam.
Half life (2023), life after AUKUS - Vasili Arkhipov (left) and 1945—- (right)
Tres minutos en Tijuana y San Diego (2023), street view video of a place I’ve never been: both sides of the US/Mexico border.
………….est (2024), superlatives of the climate crisis
It came to me (2023), found objects, courtesy of the global trade network.
Salt (2021), started with imagery in Jordan (top), then merged into the Australian bushfires of 2019 with Scenic Rim (2020) (lower).
Ubereaten (2020), Covid-era road warriors: nothing stops the pizza.