Artist Statement - July 2016

The installation “Landing, Landlines, Songlines” draws on the influences of both Aboriginal and European cultural understandings. Both of these have impacted on the shaping of contemporary Australia; in terms of the physical and cultural landscape. As such I welcome them as valuable participants/contributors/determinants in shaping my sculpture. While European paradigms clearly plays a far more significant role in shaping contemporary Australia, beneath the surface Aboriginal culture’s understanding of connection to place is a wealth/resource which no mining company can extract. To engage with this is precious. My sensibilities are far more connected with it than with European concepts of ownership, extraction and attempted control of the environment.

I am an Australian sculptor whose work grows out of the European tradition of sculpture (Brancusi, Moore, Chillida etc.), but at the same time much of my work has been hybridised by the influences of the Australian landscape and Aboriginal culture. The installation “Landing, Landlines, Songlines” shows both of these influences. The sensibilities expressed, in terms of feelings of protection/spirit figures, clearly align with Aboriginal culture. The carved, eroded like forms have the Australian landscape at their heart. The figures overall have a feel which is Australian figurative, at the same time there are a few individual sculptures in the group which, in parts of the carved form, deliberately refer back to Europe (the head shape of a bishop). Both cultures, as mentioned, currently shape Australia and as such both impact on my work. This is I believe a very contemporary approach to making sculpture.

Part of an installation which comprises a total of 13 individual works

Actual Dimension: 242 x 8 x 8cm

Artist Statement - July 2016

The installation “Landing, Landlines, Songlines” draws on the influences of both Aboriginal and European cultural understandings. Both of these have impacted on the shaping of contemporary Australia; in terms of the physical and cultural landscape. As such I welcome them as valuable participants/contributors/determinants in shaping my sculpture. While European paradigms clearly plays a far more significant role in shaping contemporary Australia, beneath the surface Aboriginal culture’s understanding of connection to place is a wealth/resource which no mining company can extract. To engage with this is precious. My sensibilities are far more connected with it than with European concepts of ownership, extraction and attempted control of the environment.

I am an Australian sculptor whose work grows out of the European tradition of sculpture (Brancusi, Moore, Chillida etc.), but at the same time much of my work has been hybridised by the influences of the Australian landscape and Aboriginal culture. The installation “Landing, Landlines, Songlines” shows both of these influences. The sensibilities expressed, in terms of feelings of protection/spirit figures, clearly align with Aboriginal culture. The carved, eroded like forms have the Australian landscape at their heart. The figures overall have a feel which is Australian figurative, at the same time there are a few individual sculptures in the group which, in parts of the carved form, deliberately refer back to Europe (the head shape of a bishop). Both cultures, as mentioned, currently shape Australia and as such both impact on my work. This is I believe a very contemporary approach to making sculpture.

Part of an installation which comprises a total of 13 individual works

Actual Dimension: 242 x 8 x 8cm

Artist Statement - July 2016

The installation “Landing, Landlines, Songlines” draws on the influences of both Aboriginal and European cultural understandings. Both of these have impacted on the shaping of contemporary Australia; in terms of the physical and cultural landscape. As such I welcome them as valuable participants/contributors/determinants in shaping my sculpture. While European paradigms clearly plays a far more significant role in shaping contemporary Australia, beneath the surface Aboriginal culture’s understanding of connection to place is a wealth/resource which no mining company can extract. To engage with this is precious. My sensibilities are far more connected with it than with European concepts of ownership, extraction and attempted control of the environment.

I am an Australian sculptor whose work grows out of the European tradition of sculpture (Brancusi, Moore, Chillida etc.), but at the same time much of my work has been hybridised by the influences of the Australian landscape and Aboriginal culture. The installation “Landing, Landlines, Songlines” shows both of these influences. The sensibilities expressed, in terms of feelings of protection/spirit figures, clearly align with Aboriginal culture. The carved, eroded like forms have the Australian landscape at their heart. The figures overall have a feel which is Australian figurative, at the same time there are a few individual sculptures in the group which, in parts of the carved form, deliberately refer back to Europe (the head shape of a bishop). Both cultures, as mentioned, currently shape Australia and as such both impact on my work. This is I believe a very contemporary approach to making sculpture.

Part of an installation which comprises a total of 13 individual works

Actual Dimension: 242 x 8 x 8cm

Artist Statement - July 2016

The installation “Landing, Landlines, Songlines” draws on the influences of both Aboriginal and European cultural understandings. Both of these have impacted on the shaping of contemporary Australia; in terms of the physical and cultural landscape. As such I welcome them as valuable participants/contributors/determinants in shaping my sculpture. While European paradigms clearly plays a far more significant role in shaping contemporary Australia, beneath the surface Aboriginal culture’s understanding of connection to place is a wealth/resource which no mining company can extract. To engage with this is precious. My sensibilities are far more connected with it than with European concepts of ownership, extraction and attempted control of the environment.

I am an Australian sculptor whose work grows out of the European tradition of sculpture (Brancusi, Moore, Chillida etc.), but at the same time much of my work has been hybridised by the influences of the Australian landscape and Aboriginal culture. The installation “Landing, Landlines, Songlines” shows both of these influences. The sensibilities expressed, in terms of feelings of protection/spirit figures, clearly align with Aboriginal culture. The carved, eroded like forms have the Australian landscape at their heart. The figures overall have a feel which is Australian figurative, at the same time there are a few individual sculptures in the group which, in parts of the carved form, deliberately refer back to Europe (the head shape of a bishop). Both cultures, as mentioned, currently shape Australia and as such both impact on my work. This is I believe a very contemporary approach to making sculpture.

Part of an installation which comprises a total of 13 individual works

Actual Dimension: 242 x 8 x 8cm

Artist Statement - July 2016

The installation “Landing, Landlines, Songlines” draws on the influences of both Aboriginal and European cultural understandings. Both of these have impacted on the shaping of contemporary Australia; in terms of the physical and cultural landscape. As such I welcome them as valuable participants/contributors/determinants in shaping my sculpture. While European paradigms clearly plays a far more significant role in shaping contemporary Australia, beneath the surface Aboriginal culture’s understanding of connection to place is a wealth/resource which no mining company can extract. To engage with this is precious. My sensibilities are far more connected with it than with European concepts of ownership, extraction and attempted control of the environment.

I am an Australian sculptor whose work grows out of the European tradition of sculpture (Brancusi, Moore, Chillida etc.), but at the same time much of my work has been hybridised by the influences of the Australian landscape and Aboriginal culture. The installation “Landing, Landlines, Songlines” shows both of these influences. The sensibilities expressed, in terms of feelings of protection/spirit figures, clearly align with Aboriginal culture. The carved, eroded like forms have the Australian landscape at their heart. The figures overall have a feel which is Australian figurative, at the same time there are a few individual sculptures in the group which, in parts of the carved form, deliberately refer back to Europe (the head shape of a bishop). Both cultures, as mentioned, currently shape Australia and as such both impact on my work. This is I believe a very contemporary approach to making sculpture.

Part of an installation which comprises a total of 13 individual works

Actual Dimension: 242 x 8 x 8cm

Artist Statement - July 2016

The installation “Landing, Landlines, Songlines” draws on the influences of both Aboriginal and European cultural understandings. Both of these have impacted on the shaping of contemporary Australia; in terms of the physical and cultural landscape. As such I welcome them as valuable participants/contributors/determinants in shaping my sculpture. While European paradigms clearly plays a far more significant role in shaping contemporary Australia, beneath the surface Aboriginal culture’s understanding of connection to place is a wealth/resource which no mining company can extract. To engage with this is precious. My sensibilities are far more connected with it than with European concepts of ownership, extraction and attempted control of the environment.

I am an Australian sculptor whose work grows out of the European tradition of sculpture (Brancusi, Moore, Chillida etc.), but at the same time much of my work has been hybridised by the influences of the Australian landscape and Aboriginal culture. The installation “Landing, Landlines, Songlines” shows both of these influences. The sensibilities expressed, in terms of feelings of protection/spirit figures, clearly align with Aboriginal culture. The carved, eroded like forms have the Australian landscape at their heart. The figures overall have a feel which is Australian figurative, at the same time there are a few individual sculptures in the group which, in parts of the carved form, deliberately refer back to Europe (the head shape of a bishop). Both cultures, as mentioned, currently shape Australia and as such both impact on my work. This is I believe a very contemporary approach to making sculpture.

Part of an installation which comprises a total of 13 individual works

Actual Dimension: 242 x 8 x 8cm