Artworks
‘Distortion x 3’
Huon Pine, recycled steel products
1050x1000x50
2020
An exploration into how the history of Christ and the Gospel has been distorted to serve various agendas.
The central defining event of Jesus’ spiritual message delivery, His death, is portrayed in a distorted manner. The gradation of the oiled timber (alludes to His perfect spiritual nature of the Incarnation) to the roughened raw arms, the warped posture of the crucifixion, and the use of modern ‘thorns’ serve to highlight this depiction.
These all speak to how the spiritual truths of His story have been misinterpreted and perverted for personal and corporate gain. That people have used His image and story is nothing new - it has happened since the time Jesus has walked in this world. His Gospel of love and inclusion has been twisted and used as justification for acts from unspeakable horrors to personal narcissistic opportunism: the Crusades, persecution of minorities, racism and slavery, ethnic cleansing, white supremacy, and political grandstanding.
It almost should come as no surprise - anything as powerful as what is regarded as the greatest message of hope and love will be appropriated and corrupted to mislead the populace who look for optimism in this often spiritually bankrupt world.
‘Mardee’
private commission, Tasmanian Sassafras burl
2017
50(h)x390(w)x280(d)mm
‘Madeleine’
Bronze commission for a memorial in Zorgvlied cemetery, Amsterdam.
2014
430(L) x 300(H) x 100(W)mm
‘Breath’
'Breath' is a choreographed fire performance expressing the intimate nature of beauty I see in the world - it is the breath of life. This is expressed so wonderfully by St Francis of Assisi in his 'Canticle of the Creatures', from which selected text is interwoven with the images of cleansing majestic fire.
Exhibited in 2017 Florence Biennale, awarded 3rd prize video.
‘BHD’ (Bad Hair Day)
bronze casting, life size
2010
‘Valiant’
Derived from my studies into St. Francis of Assisi, Valiant seeks to convey one aspect of what he came to understand – the sword of the spirit wields more power than physical weapons. Like other young men of the time, he was raised with stories of chivalry and waging ‘righteous’ wars. Francis’ first attempt failed through allegedly falling off his horse and being captured, the second was thwarted by an ‘experience’ with God. After this, his life altered significantly. Eventually, going ‘to war’ at the Crusades, he walked safely through the fighting, for an audience with the Sultan to share the Gospel.
‘Valiant’
220(h)x870(w)x500(d)mm
2017
‘Franciscan Beauty’
Franciscan Beauty is a visual expression of my ongoing research into the life and philosophy of Saint Francis of Assisi. St. Francis’ life can be viewed as an extreme paradox. On one hand, he is widely recognised as leading one of the most refined spiritual lives as any human past or present. On the other hand, his physical presence was one of longstanding deprivation and malnutrition, inevitable disease. In the person of St. Francis, these extremes came together to manifest and pour out blessings, peace and pure love to the world, which has resounded down through the centuries. The raw, fine timber used originated from reclaimed Huon Pine forests in Tasmania. This ancient timber’s age is estimated at least 800 years old, meaning it was alive when St. Francis walked the hills of Perugia. The glass was cast and drawn in Tasmania.
Huon Pine and glass
310(h)x600(w)x800(d)cm
2017
‘Compilation of MFA Research’
Small sections of 5 years of my life, 2008-13. These ephemeral performance works formed the core of my Masters research in fire, & refinement through fire.
‘Cat’
‘7 Sisters’
2008 Fire performance in the outback Australia. Using Rubens tubes, specially selected evocative music is set in a creek bed in UNSW Arid Zone Research Station, Fowlers Gap. Originally part of the fire research for my Masters in Fine Art (C.O.F.A. UNSW), re-edited and updated. Credits: Music - Howlin' Wind (Andrew Richardson) UNSW Arid Zone Research Station, Fowlers Gap. Video Editing - Angus Macpherson
‘Bird Brain’
Oil on canvas
2006
‘Trinity’
Fire and ice performance documentation
2013
‘Mourning Lounge’
land art intervention
2006
‘20:1 - Mary Magdelene’
Single piece of NSW Tallowwood and bronze
2.2m (h) x 1.2m, 1.8 tonne.
2012