Bluefins. 2014. 20 H x 36 W each. Decalware. Maybe it's an escape mechanism from the stability of the potter's vessel to unharness the figure from gravity, a repeated theme.
We’ll Dance with Adam Goodes
Terra cotta bas-relief approx. 1 m H.
One of five stretched clay statements celebrating a little bit of ancient choreography affirming the privilege
to dance with and support a great Australian.
To Dance to Swim to Fly, c. 1988, 28.5 x 34.5.
Earthenware with engobes.
Ceramics Victoria Whitehorse Art Collection.
Detention of Hearts and Minds (detail) 2003, 230 H.
Was “Children Overboard” a useful xenophobic switch factor detaining a previously generous people in caged anxiety for many years to follow?
Bulbours Vessel, 1985, 32 H x 38.4 W. Parliament House Art Collection, Canberra, ACT.
Photo credit: Brenton McGeachie.
Expulsion from the Garden before Arrival, 2004, 92 H.
This ‘clay drawing’ was inspired by Masaccio’s Expulsion from the Garden 1427 but in contrast this couple could not even enter the Garden before expulsion. Photo credit: Ivan Smith.
The burning Bush consumed with the Tower of Babel, 2006, 50 H. This work from a decade ago is further validated by Chilcot in July 2016.
It references the Malwiya AD 850 one of the great monuments of Islam, damaged in the Iraq War, 1-4-2005.
Keyhole Form, c. 1973. Approx 40 cm H.
Similar bulbous forms of the 1970s were the low hanging fruit of our tree-change to rural Gippsland.
Indelible Tattoo with Green Fingers, 2009, 51 H.
Black Saturday 2009 with 173 fatalities is a painful indelible memory, but the resilient green fingers are the grieving Australians. The hand references one of the most agonized hands in Art History.