Resume
Table of Contents
Personal Information
Education
Awards and Residencies
Exhibitions - Solo
Exhibitions - Group
Public Artwork
Articles
Arts Employment
Arts Administration
 
Biography
Table of Contents
Biography
Artist Statement (coming soon)
My Art (coming soon)
 
 
Biography
 
I spent the formative years of my youth in the farming district of western Victoria. Growing up on the family farm outside of the
  small rural community of Jeparit meant that I was afforded the freedom to explore, physically examine and interact with the elements of the world around me. It was this inquisitive nature coupled with my burgeoning interest in the environment that drew me into cycling. Riding a bike allowed me a greater range of area in which to explore. This increased scope allowed me to begin to understand what types of environments I was naturally more drawn to.
  Looking back now I guess this roving behaviour could be understood as a need to explore, understand and interact with nature. I don’t recall thinking about it those terms at the time. I believe that I was more interested in the sense of freedom that I gained in passing many weekends traversing the back roads of the Wimmera / Mallee district. I would note however that I was never content with an understanding that was based on cerebrally learned information alone. I have always needed to gain my knowledge of the world based on my physical experience of it. I believe there is a parallel here between the cycling and part of the drive that underpins my art.
  I think that it would be remiss of me to only discuss the significant moments of my artistic development as my work is often informed by more than my aesthetic or artistic concern. Although the first sale of my work occurred when I was 14 years old, art was never a discipline that I showed any great interest in at a young age. During my years of secondary education I was much stronger student in the fields of maths and science. I do regard this as quite significant as it is these latter disciplines that I often draw upon in the creation of the on-site works.
  The other non-artistic developmental point of interest is one of recreation. At about the age of 15 I was given the opportunity to go on my first rock-climbing excursion. Although I was extremely scared of heights I thought that this experience may allow me the opportunity to overcome these fears. To some extent this has been successful but of greater significance is the manner in which this now informs my artistic practice. The skills that I have learnt through my involvement in this activity are often employed during the contemplation and creation of the on-site works.
  Although these may seem like rather minor factors to emphasize I do believe that works that tend to resonate with truth are those that are true to person creating them. Without this truth to the creator then how is the audience expected to feel that sense of connection.
  After the completion of my secondary education I began to paint. Having sold some works in the past I began to paint small watercolour pieces specifically for the purpose of sale. I quickly learnt that although the works seemed popular and sold well I had absolutely no connection with them. In fact over time I grew to strongly dislike them for they remained solely a money making exercise. Having decided to focus more on creating art I went back to further study with the hope that I would grow to create works that were more significant to me than these small realistic yet rigid paintings.
 

During my time as an undergraduate student there were a number of significant events that led to my working in the manner that I presently do. The first one of note came in the form of a basic assignment. The task was to complete a painting that incorporated a 3-dimensional element. It was a task for which I felt no great affinity. Having begun to push away from the small watercolour work of earlier times this assignment may have suited my new direction but I struggled to find a point from which to begin. Eventually, after two weeks of frustration I needed to start something. I rolled out about 10 metres of canvas, sat in middle of it and began to smear large swathes of paint around the surface. Using my entire body as the brush I quickly covered both the canvas and myself. It was a release that I ad never experience through art before. When it came time to show the work I incorporated my own painted body as the 3D element, as I felt there was a significant connection between me and the painting. I hung the work down the side of a three storey building, abseiled (rappelling) down and hung myself with the work. It was the first occasion that had managed to incorporate a level of personal truth that impacted the work. It was also the first time that I managed to create a work that utilised some of my skills beyond those that I had developed in the arts field.

The next occasion of significance that occurred during my undergraduate degree was approximately 1 year later. In late August / early September of 1998 the Arts Academy was visited by a guest lecturer from Scotland. Mr David Harding was the then head of the Public and Environmental Art course at the Glasgow School of Art. During his visit he presented a number of lectures and also showed some video footage of the works that his students were producing. In the instance of his talk I suddenly had many of my preconceived notions about this thing called 'art' suddenly torn away. I had felt for some time that art must be more than a decorative object on a wall and it was in these works that I found some kindred spirits.
  Soon after this visit I was away camping at Mt Arapilies. On the second morning as I emerged from my tent I was taken with the sight of dew soaked cobwebs glistening in the grass. I was taken by this sight as it seemed a poigniant reminder of the fragile beauty of the environment. It was not only indicative of this place but it was also of this area. The connection between the mesage the material and the site were all vital in understanding the story.
  Returning from the mountains I quickly went about securing the necessary permissions to do a public artpiece in response to this visual epiphany that I had witnessed. This work was the beginning of the new direction that has sustained my practice ever since. This work can be viewed here.
   
RESUME
SELECTED WORKS
PROJECTS
ESSAYS
FILM
ARCHIVE
CONTACT