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Acrylic painting on canvas.
61cm x 61cm.
At Berry’s Beach on Millowl (Phillip Island), on Bunurong/Boon Wurrung Country, lies a semi-enclosed pool, sometimes fierce and dangerous, other times shallow, clear, and languid. Each tide brings a new rhythm, with weeds and fragments drifting and tumbling through water before they wash ashore. Within Drift and Tangle, this painting connects to smaller photographic works that hold these washed-up traces, a reminder that water carries its own presence and agency. We are not the centre here, it is water’s turn.
Acrylic on canvas.
46cm x 46cm.
This painting gathers memories of water and light — from lily pads and stone-edged pools in Kakadu, on Bininj/Mungguy Country, to shimmering fish in ponds — shaped first by post-war Europe — encountered among the ferns and gullies of Wurundjeri Country. The trees themselves are imaginal, conjured into being to hold a dance of light and shade. They invite the viewer to linger, to delight in the shadows, and to dip gently within the pleasures of the senses.
Acrylic painting on canvas.
51cm x 41cm.
Beneath the ocean waters, forms dissolve and reform in shifting play — seen and unseen, familiar and unknowable. Immersion here opens into mystery, where what surrounds us cannot be fully held yet holds us and reverberates through our senses. These echoes are not only of the sea but of ourselves, swimming at the edges of our awareness. Echoes of the Deep moves between the ocean’s wild strangeness and the mysteries that persist just out of reach, or surfacing in ways we cannot always name.
Acrylic painting on canvas.
30cm x 30cm.
Within the grove, light shifts and shadows play, the air holding a quiet stillness. A fallen branch lies across the ground, a trace of storms that bring both wreckage and renewal. The forest floor receives what falls. In Inside Edges, Within the Grove reflects the refuge and containment of sheltered places, and gently balances the unease that stirs as witness at the edges.
Oil painting on canvas.
91cm x 91cm.
Within the lands and waters of the Kulin Nation, Magic Beach, Walkerville shows a hidden beach in this quiet coastal town, revealed only at low tide and opening towards Wilson’s Promontory.
Alison Lester’s beloved children’s book Magic Beach drew inspiration from this same place, weaving it through stories of childhood wonder. This painting explores that sense of enchantment in the meeting of sea and land, holding how beaches can be experienced as idyllic and magical, yet carry hidden stories of invasion and resistance.
“All water has a perfect memory and is forever trying to get back to where it was.” — Toni Morrison
Oil painting on canvas.
51cm x 41cm
Crimson waratahs flare brightly, their petals dense and luminous in the frame. Yet among this richness, a crow holds its place. Its dark form unsettles the bloom-filled scene, shifting it from mere celebration into something more watchful. Often imagined as a messenger, here the bird is also a witness — turning its gaze outward, meeting our own. The painting asks what it means to encounter beauty under watch, where the viewer is no longer only the observer but also the one observed.
Oil on canvas.
46cm x 36cm
Amid a vivid, Rousseau-like backdrop of botanicals, a bird comes to rest. It holds presence with quiet gravity, its feet planted firmly on its landing as the scene around it shimmers with dreamlike intensity. In Liminal Wild, Magic Landing lingers in the tension between the imagined and the embodied — where arrival is both magical and real, fleeting and grounded, and where flight into beauty carries its own weight.
Oil painting on Canvas.
71cm x 71cm
In a quiet bend where creek and tide draw close, Inlet lingers with deep, tannin-rich water that moves in slow conversation with land. Reeds lean into the current, catching what light slips across the surface, while the sandy edge dissolves into warm reds and purples shaped by flow, silt, and time. This work sits inside the same landscape as the photograph I titled Tannin Creek — my renaming of the so-called Boat Creek. Both hold deeper stories of this place, as the creek’s curve carries histories not visible at the surface. Here, colour presses into shadow, movement thickens, and the meeting of water and land becomes a kind of remembering: the earth’s quiet intelligence revealing itself through subtle shifts in tone, texture, and depth. In Inlet, the viewer is invited to trace the darkening waters, the tangled reeds, and the slow unfurling of a tidal creek — feeling the pull of a landscape always in motion, while balancing the weight of what flows deep beneath the surface.
Oil paintng on canvas.
76cm x 61cm
Lush and rich, this painting lingers at the threshold between what is real and what is imagined. Its stylised botanicals echo Rousseau, evoking enchantment while recalling lenses through which colonial painters framed new landscapes as exotic and unfamiliar. Here, the scene shifts: the bird, and a hidden figure beyond it, return the gaze in stillness and silence. The work unsettles how beauty is seen - and is itself the seer.
Acrylic painting on canvas.
On Millowl (Phillip Island), on Bunurong/Boon Wurrung Country, dusk gathers over the penguin colony at Summerland. Once covered by houses, this land was reclaimed to protect the birds — a return of sorts, where the colony could swell again in sound and number. Yet the word “colony” holds a double weight: for the penguins, fragile survival and return; for the settlers, the imprint of occupation, tourism, and the heaviness of infrastructures still laid across the land. In Liminal Wild, this painting lingers in that unsettled space, where beauty and survival move against the weight of human impacts and contested belonging.
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