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Drawings in ash and rain

There has been a lot of drawing going on in my practice since I started a sketchbook called the Book of Ash late last year. I discovered the 8B pencil which is very black without being too soft and smudgy and it’s made me fall in love with drawing all over again. If you are not on Instagram you can see the more than fifty posts of these drawings since october last year from the insta feed on my site menu. Check out the #thebookofash #thebookofrain and some early posts from #thebookofnight like the work below.

All these drawings are 20 x 29 cm and are $200 each. It’s best to email direct to purchase. As with the paintings all drawings are signed, dated, titled and have an independent registration number. I can provide framing advice as I do recommend drawings are framed promptly to preserve the freshness and integrity of the work.

WanderingFlame graphite on paper 29 x 20 cmT


More Bombings in the middle east this week.. more wrath… This painting is an aftermath, a wish for stillness and reflection. peace and purposeful rebuilding. respect for heritage and others. Is it so much to ask?


This is JupiterShot, a collage I’ve made in the gallery during the Ash exhibition. I draw and paint in such a layered and painstaking way that sometimes it completely blasts the mainframe of my consciousness to make some direct collage.  This work is part of The Book of Fire which you will see more of over time if you follow this blog or my instagram


HedgeBurner 2017 oil on linen

HedgeBurner 2017 oil on linen 180 x 85 cm

There was a long spate of hedge fires in the 80’s and 90’s in Melbourne’s leafy burbs. Not sure if they ever caught those involved.

I remember thinking that they may have grown up working-poor in the shadow of mansions, like the protagonist in Bruce Springsteen’s Mansion on the Hill from the haunting album Nebraska.

People kept saying ‘we better watch you’ like I was a pyromaniac and it made me quite reflective if not completely empathetic about what might motivate people performing this action. Mental illness, anger are the obvious sources but I make art and when you make art you deal with unconscious or wishful states of being and realisation and so on that level I can relate to the need to see something burn for it to be appreciated, enhanced, transformed, beautiful.


Bloodwood 2017 oil on canvas 212 x 168 cm

This one’s not a photograph that’s ready for the website as such, but I wanted you to be able to preview it. This is the largest work and the last painted for ASH. Though I’ve clearly not removed  paddle steamers from the system…[I blame ross rod river virus].. I was feeling the need to have a more crystal clear statement of aftermath…this is what all of these works ultimately lead to.

We are always dealing with aftermaths of one kind or another. Because we are human creatures and we reflect as we go forward we are always immersed in this sense of the weight  of what has gone before.

The meticulously primed surface of this large canvas has been with me for some time and I was working towards it for the last two years. It was beautiful after all the reading I’ve done on fire ecology to immerse myself in the world of trees. During the painting of this one work I was reading Jasper Jones by Craig Silvey [which features a giant eucalyptus by a dam] , Eucalyptus by Murray Bail [which though fiction is also encyclopedically about gums] , and finally [still going] I have wrapped myself in the soft bark layers of Peter Wohlleben’s The Hidden Life of Trees.

As the inimitable Paul Klee said comparing an Artist to the trunk of a tree, the artist “does nothing other than pass on what comes to [them] from the depths. And the beauty at the crown is not [their] own. [they] are merely the channel.”