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FOSSIL FOOLS : Rupert the Muppet Master and the Adults in the Room – 2020


Oil on canvas in ornate frame. 71 x 95.5 cm (Frame included)

Didactic image stating the obvious. These terrestrial ‘stars’ of the Southern Cross, in their governance over Australia have and are orchestrated and overseen by the bloated arch-reactionary Puppet Master Rupert Murdoch. The short-sighted retardation of Australia’s political policies inter alia, in relation to the exploitation of natural resources, more particularly the mining and export of Fossil Fuels and the Fracking of subterranean natural gases, have placed Australia far-behind current global thinking and enlightened moves to renewable alternatives.

The bleeding white Australian flag references a politics still dominated by a climate-change denying patriarchy.

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Scomo’s Muzzling Delusion: Australia’s Armageddon – 2109

Mixed media sculpture. H38 x W78 x D60 cm

No man is an island,  don’t deny us a future.

Scott Morrison, an ideological right-wing politician is Australia’s Prime Minister. A man of extremes, he is an evangelical Pentacostal Christian who prays in tongues.

Hypocritically, in contradiction to his supposedly-held Christian tenets, this individual, in his capacity as  Minister for Homeland Security showed his true(blue) colours by the boast that he had effectively “stopped the boats.” He was (then) responsible for implementing exceptionally cruel policies that ensured no asylum seeker arriving by boat would ever be settled in Australia. These people, including children, languish[ed] for years in off-shore detention centres for indeterminable periods. This effective torture has been roundly condemned by the international humanist community but lauded and held-up as an exemplar by xenophobic fascist leaders like Donald Trump et al. His (largely successful) domestic efforts to publicly demonize asylum seekers reached a particularly low-point when he wrongfully referred to these individuals as “illegal arrivals.”

A Climate Change denier, to his everlasting shame, he brought a lump of coal into Parliament (when Treasurer) and held it triumphantly aloft declaring that we need not fear coal.

In Parliament he has been accused of being a liar, and in response to his nick-naming his own political foes has been branded the “liar from the shire.” He is currently introducing draconian legislation (with dire punishment for infringement), intended to curb protest against entities who advocate and continue the exploitation of fossil-fuels.

“The right to protest does not mean there is an unlimited licence to disrupt people’s lives and disrespect your fellow Australians,” was his response to Australian youth participation in the worldwide “Extinction Rebellion.”

Early in his role as Prime Minister (read Prime Sinister) he acknowledged  part of Jerusalem as the Capital of Israel, thereby partially-fulfilling the obscure prophecy in the Book of Revelations (and the Pentacostal mission of facilitation), that only when the Jewish temple is rebuilt in Jerusalem will the Messiah make his second coming – and bring with it the end of days (Armageddon).


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D.I.Y. – Gracias a la Vida AKA Cake or Death? – 2019

Oil on canvas. H40 x 50 cm

There is only one purpose for this particular knot. It has a terminal function. We live in a socially-imposed delusional State – our world is veritably assailed by a pandemic of suicide. And we have yet to acknowledge this fact as part of our reality and create a dialogue to begin addressing this lamentable state of affairs.

(The title references a well-known song by Violeta Parra and the alternate is from a skit by comedian Eddie Izzard)

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20/20 (Corrected) – 2018

Mixed media diptych. Original antique matching frames with convex glass covers and monochrome oil on bespoke shaped boards with custom-formed connecting rod/frame.
H61.5 x W130 cm

Prescient witness to the reality of 2020 and beyond.

In this age of Fake News the essential victim is truth. Retro pince nez ocular correcting spectacles. ’20/20′ offers a riveting optical glimpse of foresight as well as hindsight.

The all-seeing eyes bear witness and focus on the spectacle of actuality.  The vision of the beholder corrected to 20/20, decodes the unfolding dishonest panoply of omnipresent misinformation and duplicitousness in the political and social realm. The process and need of optical correction, infers that a truer picture is comprehended and universally available – if the metaphoric premise is ascribed value.


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