Enquiries for mounting an exhibition at gallery spaces are most welcome. An opportunity i am happy to discuss with the aim of tailoring a show to your specific space and requirements.

the images are all for sale, and only represent a small selection of my work, so do not hesitate to contact the artist if you are interested in viewing more work from any of the portfolios. 

Digital work vary in size and editions. Whereas images from "much much more" are very limited for vintage prints,  with reprints, all archival prints, available at a reasonable price.

interplanetary

“ After all, if everything is a record of itself, then what is the difference between the physical thing and a perfectly accurate simulation of it?”  ROBERT WRIGHT, THREE SCIENTISTS AND THEIR GODS  - LOOKING FOR MEANING IN AN AGE OF INFORMATION ,Times Books, London, 1988, p51. 

In my most recent work I have been investigating the intersection of realities. Now, in following this project I will further interrogate the relationships between virtual reality/reality, and what makes compelling viewing to contemporary audiences. 

More specifically this project will pursue previous photographic process as exemplified in, The Re-Photographic Survey, by Mark Klett & Associates in the mid seventies. In that work Klett & his fellow photographers conducted a survey by retracing the steps of 19th Century photographers in America’s west and re-photographing sites, thereby giving a new vision of past, present & the intersections that became apparent through time. 

In my project I aim to conjoin known “real” landscapes with an archive of known “real” landscapes. 

This, in line with the thinking of scientist Ed Fredkin, & theorist Mark C Taylor, who postulate that,    “ To think virtuality is to think reality differently.” MARK C TAYLOR, ‘Interfacing’, HIDING , University of Chicago Press, Chicago, 1997, p267.  

will lead me to provide an accurate simulation of known “reality” with the “reality” of the source images. Thereby, I will open the door to the viewers’ understanding of the images that I will construct.

ned kelly dreaming

It is with the gaze from Ned Kelly’s helmet that I began to look at his landscape. A narrow slit —  his self imposed panavision.

This vision is then immersed & melded with the perspective of an aboriginal dreamscape — most specifically from the Yarralin Tribe —  from far north  -western Australia.

It is the duality of  Australian myth & the Yarralin Aborigines, the  inclusion of the figure of Ned Kelly within  both cultures which has resulted in the exhibition I propose.

Ned Kelly represents one of the few inclusive links of white Australia to Aboriginal dreaming, the results of this investigation has inspired of these images. 

 “In the farthest corner of the continent from Kelly country the Yarralin people of north-western Australia have taken Ned Kelly into their dreaming. They tell how when salt water covered the land Ned Kelly and his angel friends came in a boat, made a river and caused the salt water to retreat. 

Another story relates that he came to Wave River Station and taught the Aborigines there how to make tea and damper, that ‘although there was only one billy of tea and one little damper, everybody was fed.’ This Dreamtime figure who evokes Jesus, Noah and Moses is also present in the age of European settlement. 

According to another Yarralin story, he kills four policemen at Wyndham and Captain Cook takes him back to England. There Ned’s throat is cut and he is buried. The Sky darkens, there is a sound like thunder and Ned Kelly rises up into the sky. White men are rigid with fear and distant Darwin buildings tremble.”I Jones, Ned Kelly—A Short Life , p339. (Based on the study of Deborah Bird Rose, ‘Ned Lives’,  Austarlian Aboriginal Studies , 1989. Volume 2.

modern erotica

A collection of work that is the result of periods of what i believed to be periods of creative block. 

Working with appropriated fragments of found images i endeavour to create a modern aesthetic for involving the viewer with blocks of colour to balance against the fragment. 

The result allows a more focused contemplation of the whole image.

The ten commandments is more an investigation and subversion of the commandments. It become more apparent to me when i worked on these images that we question their interpretation and relevance in 21st Century.  

much much more

A small sample of my history. In reality i could fill hundreds of pages with black & white and colour work ranging from the mid seventies to current practice. 

It is a collection i love dearly and i am constantly referring to this enormous archive. 

My goal with this section is to expand it greatly to give the viewer an understanding of the depth of my image making practice.