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My trees are not planned from meticulous drawings or models but instead come from my chisels and how I feel at the time of creating them.
I am an artist that loves the natural world and creating my interactions with it through forms such as sculpture, illustration and pyrography in mediums such as timber, stone, clay, paper and scraper board.
This piece is one of a series of different creations each exploring the transformation of inanimate steel into different textures and shapes expressing emotions and feelings. This piece is presenting the appearance of wound up tension held in place by one small balancing item but on the cusp of potential unravelling at any moment.
Is in the experimentation, the search of my inner voice, that I find myself shaping metal in straight curves and angles that define me today. The twist and defined lines of certainty on one side and the uncertainty, uneven, hidden.
During this personal journey I discover how my limitations feed my pursuit of identity.
“I’ll be when I’m ready, not before, probably after, maybe never.”
Includes 80cm plinth The fact of being who or what a person or thing is.
Each individual work is unique, others in the series are made in the same way but by the variation in the nature of the found wood each will be different. Using timber cut ready for the log fire works very well for the body of lobsters and yabbies.
Generally legs, claws and tail are from twigs or any other found objects of interest.
For this one I painted using many layers of glaze in an effort to depict the surface of a salt lake.
Pumice – floating, light and pocked, all being evidence of its volcanic past. Here I have gilded these gifts from the sea hoping to retain their original sense of floating, albeit on a small and intimate scale. In this world we forget that everything is interconnected and that something like a volcanic eruption somewhere else has ramifications for us all; we breathe a different air, we see a different stone; we are deeply connected to any phenomena of nature.
Teal Shells is a work about the need to preserve our oceans. The sphere representing a world that we do not fully realise in our oceans but something that is extremely important in our existence on planet earth. We need to respect the power of our oceans and look after what we have.
My life has been graced by many a bird, my studio ofter surrounded with song and flight.
Never has there been beauty and composure greater than on the days that the kingfisher blesses me with its presence.
This work is an invitation to meet a group of individuals captured in one of life’s moments. Some are in conversation, others in various states of contemplation or distraction, or are perhaps observing other artworks in this exhibition. You might imagine one or more taking a breath, and turning their head to look your way.
Ideally, this is an interactive work, where the participating audience can ‘play’ with individual pieces; rearranging relationships and establishing new dialogues. Various elements could be separated, removed from the table and placed in different contexts to create new narratives.
The artistic process involves memory, visualisation and recording of ideas, although personalities emerge and reveal themselves at some point during their making.
Discs represent Australian places environmentally threatened by climate change, urban/tourist development, mining, industrial/agricultural impact and pollution, logging, invasive species.
Left to right from the top: Macquarie Island, Galilee Basin, Great Australian Bight, Kangaroo Island, Daintree rainforest, Pilliga, Kimberley, Pilbara, Wollemi/Bylong Valley, Lake Eyre Basin, Australian Alps, Murray Darling river system, South West Western Australia, Ningaloo, Tarkine, Great Barrier Reef.
Wall installation of 16 X 38cm diameter discs. Coiled and stitched cotton rope, cotton fabric, cotton thread mounted on ply board.
‘Hic Sunt Dracones’ is fully poseable and (gently) washable. It has an aluminium and millinery wire armature overlaid with quilt batting and polyfill. The yarns are a mix of natural and synthetic fibres and the eyes are acrylic safety eyes.
Here be dragons – as yet uncategorised, and without a Latin name. Like cats, images of introduced European and Asian dragons seem to pop up everywhere. And then there are iconic Australian fauna like the bunyip and yowie. But what if draconic convergent evolution produced a wyrm who still hides in our forests? Something like perhaps, a frill-necked, rainbow-coloured wyvern whose primordial ancestors were goanna-precursors? And what better technique to use for this beastie than crochet!
Three sculptures for the art piece called ‘Baby Urchins’ are not for sale. Enjoy ‘BABY URCHINS’ by The Beautiful and Useful Studio with artist Matthew Aberline. This work continues a theme of works inspired by nature that explodes the scale to new proportions in a playful way. Sustainability is at the heart of the work, and is made from recycled PET polyester in a studio that uses 100% solar power.
‘The Worker’ Honey Bee head and tail section began its life as an old motorbike muffler and the main body is an old burnt out fan motor from a welding machine with the interchangeable tail an old power pole insulator. The legs consist of some old pointy nose pliers with typewriter letters and numbers for the feet. Another timeless art piece created from disused items for my generation to enjoy and hopefully many more generations to come. Base included.